Liverpool Sound and Vision Rating * * * *

Oxford is known for its dreaming spires, its universities that are amongst the pinnacle of world education and thinking and one of the best cities to sit and have the occasional pint in one of its numerous and edifying public houses; what it’s not that well known for is for being a hotbed of young musical talent. Occasionally though a new musician will come through and whose voice breaks down barriers and wins fans in even the most music conscious places in the U.K., it won’t be long before Adam Barnes possibly becomes the most well-known musician to come out the city.

Adam Barnes’ folk edged music, that so palpably comes through on his record Blisters, is a rare delight to hear. Musically the songs sit well on the album, the guitar and vocals, with the odd touch of piano flourish complement each other in way that on first listen might be missed by someone who doesn’t care or feels that folk music and the city of Oxford are not made for each other. However the songs are well written, full of pathos and secret smiles which are just so enjoyable when combined by someone who cares about what they are creating.

There are some exceptionally well-constructed songs on the album and the songs that get beneath the skin are just startling in their simplicity and worthy of higher accolades. From the opening tracks of Old Shoes and She Will Stay Beneath the Moon comes music that is comparable to Liverpool legend and wandering troubadour John O’ Connell. As with John O’ Connell, Adam Barnes manages to combine the art of story-telling with the beautiful ease of painting a picture that will leave you wrapped in its cosy sadness.

One of the highlights on the album is If I was a Lonely Man, its phrasing and almost dramatic use of language is an inspiration to anyone who has stayed awake all night wondering what the right thing to say is. It is never too early to call a song a high spot of the year in music.

Oxford has a new musical hero, it can only be hoped they savour and nurture him.

Ian D. Hall