stave magazine
Here’s a great, young artist with a nice accessible folk/rock groove and sensibility, and a bright, sweet voice. I write this review to the established journalists, radio types, venues and festival agents. Please, please, please do not ignore Aiden James. He possesses the energy of Ellis Paul, but enough control to avoid “compression” in the studio. James doesn’t blast us with the kitchen sink, but he’s got enough gospel in him to make this reviewer believe he could certainly do it. James definitely has the comfortable rhythm of the “A-list” folk entourage, but he’s yet to show up on everybody’s house concert bragging rights list. To you concert hosts who are tentative about booking that unknown, I urge you to consider this young player before your audience gets bored with the safe bet rebooking we hosts can so easily fall into.
James has that endearing homeboy quality that he comes by honestly and then presents through the album’s simple, understated production. There are no “bragging brand” studio players here. This is honest work. James handles the mother load of the basic instrumentation with a short list of extras to help him along. The songs are personal, yet universal, and although they may speak loudly to the young, they will whisper sweetly to the old. He is the romantic “everyman” who isn’t afraid to be fragile, and there’s no hidden message here. What we hear is what we get. In fact, at times, James’ gospel style songs feel like they were written for a vocal ensemble or the local missionary Baptist church choir. In my head, I hear this happening, and I imagine it would burn down the house. If Ruthie Foster ever got hold of an Aiden James tune, this young man would be an overnight folk circuit superstar. In the meantime, those who like a revolution might want to jump on this wagon before it trades up to locomotive status.
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