Despite a challenging journey from Oklahoma via Denver and Newark, with delayed flights and lost luggage, Carter Sampson's performance at The Betsey is a testament to her resilience. The unique basement setting, nestled within the iconic pub and event venue, adds a touch of intimacy to her set, which is performed to a captivated audience in pin-drop silence. The only sonic distraction is the occasional rumble of the underground trains that run parallel to the venue, adding a unique element to the experience.
It's the opening date of Carson's sixteen-date whistle-stop UK tour, and her set includes selections from her most recent studio recording, GOLD, a dip into her extensive back catalogue of songs, and a couple that bring back cherished childhood memories.
'I almost feel high, despite being completely sober', she jokes, referring to the torturous travel experience getting to the UK before appropriately opening with the confessional Drunk Text. She closes ninety minutes later with Blue River, performed off mic and described as her favourite song ever. Personal anecdotes like those shared by Carter throughout the evening added a layer of relatability to her performance.
Drawing from the previously mentioned album GOLD, she includes the title track, an ode to her mother, who, despite fifteen rebellious years, remains her best friend and mentor. Also performed is the closing track from that album, There's Always Next Year, described as a pandemic song.
Ten Penny Nail recalls an incident where Townes Van Zandt allegedly barricaded himself – no doubt fuelled by his favourite tipple – into a room in Guy Clark's house after a drunken altercation involving the pair and Guy's wife, Susanna. Hello Darlin', she confesses, was written by Zac Copeland because her own love songs are too complicated; she also includes another Copeland song, Tulsa, and Rattlesnake Kate, both from her 2018 album, LUCKY. The latter, Carter's favourite song to perform, is a thumbs up to the independent wild woman, Katherine Slaughterback, whose claim to fame includes killing one hundred and forty rattlesnakes in one day, among other badass triumphs. Other highlights include Be My Wildwood Flower and Medicine River, the Shel Silverstein-written Queen of The Silver Dollar and, of course, Carter's anthem, Queen of Oklahoma ('I spent eighteen years trying to get out of there but still feel homesick when I'm away').
All in all, this is a riveting and relaxing listening experience from an artist whose material explores a wide range of issues, from deeply personal to observational. The good news is that she announced that she will return to this side again next year with a band.
The evening support act, Sheffield-based Banjo Jen, delivered a highly entertaining set. Her performance included her two most recent singles, Whiskey Feet and Fine Line, showcasing her musical talent and witty storytelling. Her sweet banjo strumming and engaging tales added to the overall enjoyment of the evening.
It was Lonesome Highway's first visit to The Betsey, which greatly supports often lesser-known artists and bands. It's a gem of a pub with three music rooms, great food and refreshments, and friendly staff, and one that I look forward to returning to. A final mention to the promoters Martin and Marion of Black Cat Music Promotions, who continue to provide essential support to roots artists both at home and abroad and gift audiences with memorable evenings like this one.
Review and photos by Declan Culliton