If this release is how we are kicking off 2023 then it’s a good year for music. Having known Sarah Gallagher for many years, been to several of her gigs and even had the pleasure of playing alongside her, I have been waiting for this release for a long time. Three years on from Sarah’s debut single, ‘Blue Lights’, comes an astounding EP comprising of four new releases familiar only to those who have been lucky enough to see Sarah and her band playing live. The EP is generally light, well-humoured and unapologetically heroic in its confrontation of life’s tribulations.

The EP is a series of live sessions recorded at Green Door Studio in Glasgow with vocals and guitar from Sarah Gallagher herself, Fraser Hughes on bass guitar, percussion from Adam Ferguson and fiddle provided by Campbell Moffat – not to mention a few surprises that I won’t spoil by mentioning. The tracks are generally mastered to a high standard and sit well amongst songs of their kind but might not be perfect for all listening cases. Reminding the listener that the origins of these pieces are in live folk and grassroots settings, the Inverness-based Gallagher leads most of the tracks with solo or gently accompanied acoustic guitar before quickly establishing the quirky, upbeat feel for which Gallagher is so beloved. Challenging the mansplainers, senders of indecent and unsolicited pictures and monotony of modern dating, Sarah Gallagher delivers folky satire with musical prowess that is a joy to listen to.

Starting off the EP is the ever popular, ‘Tinder’. A song that set Sarah Gallagher apart from her peers in the Scottish music circuit, it is only right that it sees her into this new era of music. Starting with a quaint guitar intro and simple percussion, the song quickly erupts into a volley of musical splendour that is appropriate to a night Scottish night out. The simple melody that riffs on from the electric guitar is catchy and is soon followed by the anecdotal lyrics that we’ve all been waiting to hear recorded and played out. The tempo of the song (and Scottish lilt of Sarah’s singing voice) might make the lyrics hard to discern for some but as the momentum of the song thrusts us into the chorus we are quickly reminded of Sarah’s wit and strength. The song is a complaint against the insincerity and formulaic nature of conversation on modern dating apps. Here we begin to see just how well written the pieces are with harmony and structure that give a hint to just how often one might hear, the standard “yo”. Tinder is a song that simultaneously leaves its listeners hopeful for the future of Scottish music but terrified for the future of human interaction.

Next up is a the wonderfully titled ‘Cock-A Hoop’. As a song that I am quite familiar with, it is a pleasure to hear fully recorded. However, I would advise that it’s titular chorus phrasing is better explained by Gallagher herself at live performances (so buy your tickets!). The song has a bit of a hesitant start and takes a bit of time to settle into. However, the sweet fiddle melody and strong bass line are familiar and become far more cemented from the moment the percussion kicks in. The chorus of the song is energetic and light as would be expected but this is one of Sarah’s more optimistic pieces. The joyful silliness with which the song proceeds is unparalleled and the song will surely be stuck in your head for at least the rest of the day.

The penultimate song of the EP, ‘AWOL’, starts as others do with a gentle acoustic guitar melody that would be well received at any ceilidh before quickly launching into a punchy full band sound that is reminiscent of George Michael’s ‘Faith’. Fiddle player Campbell Moffat truly gets to shine here with a sound that reminds the listener that these songs were recorded as live sessions in the recording studio. The woody tones and natural sounds of the fiddle, often emitted from music, may be an acquired taste but it is very much appropriate to the style of Sarah and her band. Whilst being yet another upbeat song, Gallagher refuses to make the mistake of creating songs which are too similar. Instead each song takes it’s own unique approach to getting people moving from their seats to their feet and moving along. Sarah also uses familiar chord progressions with melodies that would be expected but with enough of a twist to remind the listener that Sarah pulls no punches in her work. The song’s middle 8 is a quick fire recitative with some clever lyric work which is almost a folky rap in its presentation and, whilst the end of the song is a bit drawn out, it is yet another call back to the ceilidh band sound that the band utilise so well.

Bringing this much anticipated EP to a close is the interestingly titled ‘Brown Wine’. The song stands out amongst the others not only because the vocals start it off but because the verse has an “oompah” type pulse to it. It’s been a long time since I listened to a song that genuinely had me chuckling but the way Sarah recounts her experience of the Scottish music scene is both accurate and familiar. Not only are the lyrics funny but the change of pace between verses and chorus are a success of musical humour. I would normally wonder about the explicit nature of Gallagher’s lyrics in this song. However, they are appropriate and proportionate to the frustration that I can only imagine Sarah must have experienced in yet another conversation with some guy whose unsolicited opinions dominate the night. This song feels the most concrete and with excellent percussion, the band feel their most synchronised in this grand finale. If this song indicates the direction that Sarah and her band will go, then I am still more excited for the next Sarah Gallagher release.

Ultimately, this EP is a phenomenal listen. It’s not without its rough edges but they add character and dimension to the music in a way that is unique and uplifting. I hope that Sarah really runs with the momentum that this release will no doubt garner and continues to release new music in the near future. Keep your eyes peeled for the upcoming music video and get yourself along to Sarah’s EP launch events at both Tooth & Claw, Inverness (Feb 10th 2023) and Sneaky Pete’s, Edinburgh (Feb 14th 2023).

Please note: This review was written listening to a pre-release version of the material in question and therefore, sound quality and balance may differ from the final release. Any comments to such a quality should be read with this in mind.

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