ALBUM REVIEW:
Fable
Shame
10/10
The album, Shame, is available from:
https://open.spotify.com/album/36q8JTWPQ2bAHMYUNtDxsk?si=1Q8g_FNuQzGQ8G5trl9VDA
RELEASE DATE:
29th July, 2022
LABEL:
Naim Records
WRITTEN BY:
Holly Cosgrove (Fable)/Jonas Persson
TRACKLIST:
Fall Away
Womb
Guilt of the Act
Sandcastle
Heal Yourself
Shame
Orbiting
The Reaper
Unequal
Thirsty
Swarm
Onion Brain
__________
I have a few things…
to sort of get out of the way before coming to a review of, in my view, one of the finest albums of this year by any artist. Forgive any sloppiness or oversights in this review but, yesterday, BBC Two dedicated their evening schedule to shows about Kate Bush (or those featuring her music) on what was her sixty-fourth birthday. It was a joy to see so much love for an artist who is an iconic genius who commands such huge respect! I am an obviously massive fan of hers and, to the best of my knowledge, write about her more regularly than anyone else in the world. Not to say that as a way of patting myself on the back. The reason I am so compelled by and dedicated to Kate Bush is because her music keeps revealing new layers. There are always fascinating avenues unexplored that one can write about. It excites me when I see an artist come along that has elements of her, or I can see them reaching similar peaks. Fable is an artist who I am in awe of (and who I recently interviewed). The moniker of the phenomenal Holly Cosgrove, I predict so much success in her future. For a start, I think that she genuinely has an album inside her as mesmeric as Hounds of Love (incidentally, listen to this 2020 documentary about Hounds of Love at thirty-five). I feel she could pen a sweeping and spellbinding suite like The Ninth Wave. Someone who can project the same sort of beauty and awe, everyone needs to keep their eyes on her (I have put Fable’s social media links at the bottom so you can follow and support her). I also know she is a big fan of David Bowie. Like Bowie, I can also imagine Fable adopting new personas and recording albums that explore different sounds and genres. Bowie was masterful when it came to switching guises and landscapes. This is something that I can also see Fable doing. Even if it is hard (and practically impossible) to match legends like Bush and Bowie, there are artists today that can combine the two and add their own stamp and sound (St. Vincent springs to mind).
I am awed by Fable because I can see limitless potential. I am not sure whether she (Cosgrove) has considered it, but she has enormous presence. Many artists go into acting, whether on the small or big screen. I am writing a screenplay myself, and I am currently searching for musicians to act. Sorry to ramble slightly, but as I said to musician Iraina Mancini recently, she is someone who could have a drama or short film specifically written with her in mind. I could see Fable (or Holly Cosgrove) either acting in something phenomenal or putting together a short film. Also, she seems like someone who would compose an arresting, innovative and immerse soundtrack for a film. Not to put pressure on her, but there is this potential adjacent career that could see her head to America and be a success here. Undoubtedly stunning and blessed with a unique and huge talent, Shame is an album that she is very proud of – and rightfully so too! It has been a challenging past week or so for me with various things. Flat-hunting with little success in London, a spell (still ongoing) of quite bad depression, and a general feeling of being directionless and a bit lost has weighed very heavy on my shoulders. Music an act as a remedy and source of stability in our darkest and most unsure and frightening moments. If it simply provides carapace or escapism, that can balm us in the short-term; maybe long enough so we can get our feet back on solid ground. The most remarkable and affecting music can give us guidance, strength and a real sense of purpose and place in the world. One reason why Shame has affected me so deeply is because it sounds like a modern classic. There isn’t an award ceremony in place, but I feel there should be a Mercury equivalent where newer or growing artists only are selected. Shame is an album that would walk away with the prize!
If this all sounds a bit gushing and lovestruck, you only need to listen to Shame and know Fable even a tiny bit to realise what a special and wonderful person and artist she is. In that way, she reminds me of Kate Bush. With beauty of soul, sweetness of heart and almost inexplicable level of talent and ability, one is helpless but to fall for her. I can’t remember the last time I reviewed an album – I normally write single reviews -, but I am going to write a bit about each of the twelve tracks on Shame, in addition to a closing paragraph about the sensational, future-legend that is Fable. I have looked at press and reviews for Shame (and, as not to steal anyone else’s voice, I will not quote those reviews). Fable has been compared with the likes of Portishead (there are Trip-Hop sounds through Shame; though Portishead resented being called ‘Trip-Hop’), and Kate Bush. Set aside any comparisons and understand that Fable is so respected and promising because she has her influences, yet her sound and music is distinctly from her bones and mouth. This is someone who is behold or reliant on nobody! I am going to get down to reviewing soon. Before that, here is some information about Fable and the mighty, majestic, magnificent and moreish Shame:
“The Devon-born singer-songwriter will be performing songs from the twelve track collection at a headline show at London’s iconic venue The Lexington on 6th August - full tour listing below.
Shame is rooted in the present, but draws from the past, taking inspiration from the likes of Portishead and Kate Bush, whilst being acutely aware of the challenges Fable’s generation faces. “Being human is more complicated than it has ever been,” Fable explains.
“I’ve seen so many young people just spinning in information, feeling like they have all the knowledge but none of the power. I think I’m here to say 'Look, keep it simple, fuck all of this hype, delete your social media, empower your own experience, compare notes with your child self. What would they think? Being happy doesn’t make you ignorant to the world's problems. Love yourself and the everyday shit.’ It's all here.”
Turbulent new single ‘Swarm’, also out today, began one grey-skied Welsh morning in lockdown, listening to Radiohead and strumming the same two chords for an hour. Speaking on the single, Fable says: “I had the lyric ‘Where do I end, where does the world begin?’ scrawled in my notepad. It’s making a stab at a difficult subject: What is I? These are the things that go through your mind when you start self-isolation, before the pandemic’s even begun.”
Having last year relaunched an impressive fledgling career that had already included performing at Glastonbury and collaborating with Orbital, Fable’s second coming has been met with enthusiasm from tastemakers, including NME, 6 Music, CLASH and The Independent, notably for the trip hop and neo soul blending ‘Orbiting’, which has racked up over a million streams, the emotionally introspective ‘Womb’, and the 6 Music-playlisted title track ‘Shame’. Signed to Naim Records, the label wing of the award-winning premium audio brand, and an ambassador for mental health charity My Black Dog, she has recorded a debut album of genre-fluid, searingly honest and darkly beautiful music that spans from urgent post punk to introspective electronica, whilst posing questions that are both timely and personal, yet timeless”.
On Facebook, Fable thanked Andy Hollis for being the world's most supportive manager; Jonas Persson for fire production and co-writing; Andy Baldwin and Metropolis insane mastering, and Kenny McCracken and Keith Davey for this beautiful artwork. She has a wonderful team around her. One that will see her share the stage with some of the biggest artists in the world before too long. There are two bits of housekeeping to do before starting. Tomorrow, Fable can be heard on Chris Hawkins’ BBC Radio 6 Music early-morning show. She provides an audio tour of her favourite place: her grandfather’s home in Torquay. Also, if you can get to London and see Fable play The Lexington on Saturday (6th August), then there are tickets available. A debut album to be truly proud of, I feel very touched to add to the incredible kudos (including some five-star reviews!).
Fall Away opens Shame. A gorgeous and tender piano line instantly hooks you in and gets into the head. Such a beautiful and passage is soon joined by Trip-Hop and Neo-Soul colours and layers. Fable’s vocals are extraordinary! From strong and resolute to quivering and emotional, you do actually go on a journey in the song. I love Fall Away’s composition. If it were not for the truly mesmeric vocals and the fact Fable can buckle the knees, you could provide an instrumental version of Shame. Such is the power and depth of them, they show she is an artist who cares about texture, resonance, nuance and every single facet of a song. I think that a lot of modern music puts the vocals to the front and there is not much consideration when it comes to writing an original and interesting composition. Something operatic, choral and almost classical, there is this modern symphony playing out. In fact, Fable has revealed the story behind the truly wonderful Fall Away:
“It’s always been important for me to live in the present, and to make peace with the idea of my own death, explains Fable. “Fall Away tries to accept that all things will come to an end, and that to resist this idea is like swimming upstream. The line ‘long may the grass grow’ is a recognition that even if humanity doesn’t survive, consciousness in other forms will continue,” Fable adds”.
I keep going back to the song for various reasons. I love Fable’s vocals and lyrics. Lines like “Hiding your heart from your head” resonate because they can mean something different to every listener, and yet everyone can relate and understand that line – even if it means something personal and unique to Fable herself.
Womb’s title instantly got me thinking about birth and bringing new life into the world. Maybe the birth of an idea or revolution. Showing her incredible vocal dexterity and emotional range, Fable’s voice is sultry and hugely soulful. Reminding me of Amy Winehouse and Adele, layered backing vocals and this great bass rumble gives Womb such richness and nuance. You come back to the song because it demands repeated listens. I normally try and interpret songs and dive deep but, as there are twelve tracks, the word count would be astronomical! Yet another phenomenal and multi-layered composition perfectly marries with a pure and chocolate-hued vocal that swims in the soul. A very different song to Fall Away, Fable ensures that Shame boasts this variation and sense of movement and journey. That said, each song is distinctly her. There are too many artists who are limited and struggle to find a singular voice. Fable’s incredible vocal and writing gifts fuse with magnificent production values. Womb is an early standout for me. I talked about Fable (Holly Cosgrove) acting very soon because her songs have this cinematic quality. You listen to the composition and it almost has its own life and promise. Whether something quite stirring or gentler, one could see Shame being turned into a short film. In any case, a video was released in May last year. It is a simply brilliant video directed by Matt Hutchings. Credit too to Jonas Persson for his co-writing. I especially admire and love the wordless vocal chant that takes the song down. After two songs, you are already stunned by Shame – excited to hear what comes next…!
One can hear some classic ‘90s Trip-Hop with the cutting-edge today on Guilt of the Act. Again, some marvellous bass gives the song such groove and push. If our heroine doesn’t wanna be selling any dreams to ya, my dream is actually that we get a music video for this song! An insanely catchy and awe-inspiring song, I would love to see what Fable and her team would do with this in video form. You almost get something classic and vintage with the backing vocals. Maybe a classic girl group like The Andrews Sisters. I have seen some media outlets mention the 1990s influences in Fable’s music. She was born in the middle of the decade – making me feel really old! -, so it is natural that music from that time were part of her growing up. She’ll forgive me (I hope) for misquoting any lyrics or misconstruing the inspiration behind tracks. With a lyric video online, the listener can read the words and get a sense of where Fable is coming from. Look what I mean about vocal dexterity and flexibility. Still able to be immensely powerful and soulful, this is a brighter and faster song that, again, keeps the sense of flow, evolution and change firm. “Can’t walk in these shoes, I’m giving them back” is another statement that can be understood by everyone but can mean different thing to different people. Not to compare an innovator and unique artist to anyone else, but I get pleasing tastes and notes of some of the great girl groups from the 1990s. Those who were superior to other artists because of the beauty of their vocals and their innate ability to produce these life-affirmingly and bright choruses. Although you get the feeling of sunshine, the lyrics do point to something a little more anxious or darker (“But the money keeps holding us back”). It is a remarkable song. Possibly my favourite cut from Shame.
Sandcastle has this woozier and dreamier vibe. Taken us down from the buzz and rush of Guilt of the Act, this is one of the finest vocal turns from Fable! Whispered, sweet, soulful, strong, and so full of emotion, I know that artists will be lining up to have her feature on their songs very soon. Like when Elizabeth Fraser (Cocteau Twins) collaborated with Massive Attack on Teardrop (from 1998’s Mezzanine), I can see Fable being drafted into a huge collab. That said, she is sort of Elizabeth Fraser and Cocteau Twins (and others) rolled into one extraordinary package, so she does not need anyone else! I do feel like, the more exposure Shame gets, the more attention she will garner from producers and other artists – realising this insane talent who has created an album where each song has a different palette, yet everything hangs together and connects seamlessly! “We want the same/Let’s walk together” Fable sings, her voice imbued with spirituality, a hugging heart and this beautiful smile. You get these visions when hearing a song like Sandcastle. A standalone song that could fit into a film, save someone’s day or soundtrack spontaneous passion, I would be interested to see how this song translates to the stage. Another addictive and memorable song you will be singing to yourself and spinning over and over again, it was at this point that it struck me just how strong and limitless Fable’s voice is. I am not sure how vast and eclectic Holly Cosgrove’s record collection was as a child and teen. I have been reading this about Cosgrove and what she has had to face in her past – and how inspiring she is now and what important work she’s doing. I bring that in here, because Sandcastle seems like a blend of this dream of someone gone or imagined and a call to a departed loved one. Maybe that is way off of the mark, but I get a sense of Fable calling out and reaching beyond the tangible here and now. Again, like all of her songs, everyone has their interpretation and takeaway.
We are about to get to two songs that are very well-known and loved already. Heal Yourself is a track many might not have heard. With a skiffling and almost skeletal beat teaming with moonlight electronics, I get visions of dusk on this song. Meditative and incredibly soulful (a word I have used a lot but applies here), the pace changes and a beat bounces in. Bassy and heartbeat-heavy, Fable’s voice rises. I have listened back to this song over and over. It grows more intriguing and stunning the more I hear it. Another modern classic, as I have said a few times, this could soundtrack a dramatic scene or some cinematic standout moment. Fable’s voice is near its peak. She never lets the heavy and growing beat drown her out. Instead, her voice seems to ride on top of it like a surfer cresting a wave. She doesn’t need to amplify her voice to be heard and make an impression. It is the conviction of her words; the prowess she displays, and the natural talent she has that means her voice is another instrument that can weave between the notes; contrast with the beat and also stand on its own. From the more twilight opening, we get this burst of light and heat. One of modern music’s greatest songwriters and voices adding another chapter to a genius debut album. I have not heard a finer debut album this year – nor do I expect to by the time 2023 hits. The two most-streamed songs from Shame appear in the middle of the running order. The title track comes next…
Shame has been written about a little bit. Its video is wonderful! I get visual vibes of Kate Bush and Lady Gaga (with a bit of Beyoncé) but, with Matt Hutchings directing once more, this is very much an original and incomparable video. I hope Fable won’t mind, but I got some tones (the chorus of, perhaps) of St. Vincent’s Pay Your Way in Pain (from her epic 2021 album, Daddy’s Home). Although, as wonderous as that song is, Shame is on a whole other level! The vocal trips and swaggers. This is one of the coolest and toughest vocals on the album. Almost like it is wearing a leather jacket and bossing the night, this song kicks and slaps! Woozy, weird, wonderful and utterly sh*t-hot, the backing vocals (which chime “shame” and “pain”) are almost ghostly and taunting. I think many have interpreted Shame as a lament of the modern day and what the young generations have to face in terms of reality and struggle. Rather than it being a gloomy and angry song, Fable manages to write such an evocative and stirring song that makes you think but also has this grooviness, ‘60s vibe and a trippy quality that feeds into its stunning and unbeatable video (which has scary similarities with Soundgarden’s Black Hole Sun at times!). It is hard to distil the essence of the title track into a few words. This is a song that took my breath when I first heard it - as it continues to do so. I know BBC Radio 6 Music’s Chris Hawkins was a very early champion and lover of Shame. I heard the song on his show and, by the time the chorus came in, I followed Fable and was a confirmed fan!
As the song has been out there for a while, it is no shock that Orbiting has been streamed more than any other song that appears on Shame. Taking us into a different direction altogether, the video is another perfect accompaniment to the song. Matt Hutchings and Fable are a tight and natural creative partnership! Giving the Devon-raised artist the best visual platform for her songs, I love the mix of beats, bass and Fable’s voice on this track. Taking things down a bit into soulful and sensual territory, she can pretty do anything that she wants! The chorus struck me with these lines: “And we're isolated/But we're connected/Because we are one under the surface”. Snarling guitars and a wonderful blend of the old and new, you get invested in the lyrics. The second chorus is one of the most thought-provoking on the album: “It's a lonely life/But I'm still spellbound by the world/And all these lies/Are certain to blow up/So I'm gonna go where no one's ever been before/And it's time to go where you have never been before”. The fact I am writing fewer words about Orbiting than most of the other tracks is because I would recommend people simply listen to it. There is this mood and vibe that you get from the track that is hard to put down on the page. Now past the half-way point, the listener is transfixed and transformed by Shame! I was so hungry to hear what came next.
The Reaper is another song that many might not have heard about. I love the sequencing of Shame. The bigger songs are organised and distributed evenly so that you get this consistent listening experience. Neither top of bottom-heavy, Shame is such a balanced listen in terms of those tracks you know and the ones new. In terms of the best of the best, I think every song is so strong that it is impossible to rank them. Even so, the two most popular songs appear as tracks six and seven – reminding me of the fact that tracks five and six of Kate Bush’s The Kick Inside are The Man with the Child in His Eyes and Wuthering Heights. The Reaper sort of tiptoes and creeps. There are electronic beeps that mix with a thudding beat. Fable’s voice is almost hiding and watching from the shadows. It is an amazing song! You are caught my surprise by it almost. “It can’t stay the same” our heroine sings, as she knows that things are going to change. The composition pulls in ghostly electronics, different beat patterns and an orchestra of spirits, ghouls, clicks, rushes and waves that all swell together to score this head-spinning song. This is a cut that would sound amazing on vinyl. (More on that later). This is an album track whose video could be really interesting. I am not sure whether any further singles will come from Shame, but fans will definitely have one or two suggestions. Such is the – as I have said – cinematic quality of the song, you naturally project videos and all manner of visions!
Four tracks left on Shame. Once more, the mood and direction changes. A more consistent and faster beat fuses clicks and electronic pulses. Almost rising from a slump or the dead, Unequal is a gem that warrants a lot of love and investigation. An artist who can inhabit any song and set of lyrics and completely stun the listener, Fable sings of a sickness that is growing and pooled at her feet. Almost tribal-like, the chorus emphasises how we are not equal. Whether she is referring to our Government and how society is skewed to the rich and privileged, it is another one of those hypnotic songs where you almost lean into the speakers so you can sit inside of it. Unequal has this constant sense of rhythm and dance that swirls and sways. You nod your head, sing along and click your fingers with it. The shortest track on the album, Unequal packs so much in! There is some cool electronic guitar that is subtle to start with. We then get a pause before it comes back in with teeth and attack. Bouncing, bold and physical as hell, you are almost moved off your feet with its power! The guitar and beat stomp their feet as Fable leads a charge. One of the many things about Shame that impresses is how no two tracks sound the same. In terms of their lyrics and sound, you get a completely new experience. Even so, the way the album is programmed and ordered means that things naturally flow and take the story forward. I wonder whether Fable had an idea of making Shame a concept album. In a way one can feel a narrative arc and common thread. Two big songs appear in the final three.
The first is Thirsty (released back in October 2020). With another amazing Matt Hutchings video (that puts me in mind of Kate Bush and Bjork), I get sounds of Alanis Morissette and Jagged Little Pill here. Rather than it being overpowering, it is a nice side to Fable’s voice. Ruling all is her incredible personality and talent…that makes the song her own. One of the finest and biggest choruses on the album, she is utterly jaw-dropping in the video! This song deserves so many more views on YouTube. In all honesty, it is one of the best songs that I have heard in years! It reminds me of a ‘90s classic without it being too indebted. Not many modern songs can match the best of that decade. Thirsty can! Like the most seductive kiss, you will keep coming back for a taste. It is intoxicating and so irresistible in its brilliance. The choruses rises and rushes before a slight down and then another rise. A phat Trip-Hop beat backs Fable’s voice. She throws in so many different sounds and accents in this masterful number! The video helps bring the words to life. At around the 2:20 mark, when you expect the chorus to come back in, the song changes course and this rousing, epic and symphonic rise comes. The guitar claws and strikes; there are layered vocals and a spectral wind that bring the song to close. No shi**ing. This is a modern classic and song that I cannot shake! If Fable doesn’t think she has the same genius as artists like Kate Bush and David Bowie, Thirsty is early proof that she very much does!
I needed a bit of a break before Swarm arrived! Smiling, exhausted and almost post-coital after the sensation of Thirsty, Swarm does not start how you’d expect. A rare line of acoustic guitar delivers something tender and soft. Following a song that burst like fireworks, Swarm has this gentility and purity that shows Fable at her soothing and beautiful best. Of course, a simple acoustic layer would probably need something added to it. We get strings and a great beat that comes and goes. Not a crowded song at all, there is this sparseness and openness that takes the listener to the mountains and river. This is almost like the heroine, at this point of the story or short film, escaping into the wide-open morning. Embracing something more natural. Elegant strings play. I almost heard Swarm as a James Bond theme. Maybe a modern-day one similar to Billie Eilish’s for No Time to Die. I did hear the song with a Bond title sequence moving in my brain. It has that combination cocktail or the sexy and sensual together with the potent and pure. Apologies to Fable is she doesn’t want too many comparisons, but I think Swarm is a song that could have fitted onto Madonna’s 1998 album, Ray of Light. Not because they sound alike as artists – Fable is a much stronger writer and singer -, but I get that sort of vibe. Like William Orbit has produced the track. Shame is an album with variations and so many different types of songs. Even if you have particular tastes, you will find something to love on this album. Swarm does not repeat what goes before or tries to duplicate or mimic. Instead, it is the natural talent of Fable unfurling and shining bright once again. I got to the final track thinking about how others will perceive Shame. It is not an easy album to make. There are so many different ingredients added to each song, this is the result of tireless work and passion! Throw into the fact that the pandemic delayed and slowed things, and the fact that this wonderful artist would have been fearful, doubtful and stressful at times. Shame is out in the world, which means we can hear this debut which would have been in her mind for a very long time. I am very protective of it because of how much work and herself Holly Gosgrove has put into it.
Onion Brain is another recent release from the album. Shame’s swansong is a one that stands as a favourite for Fable. As you can read here, Onion Brain has a fascinating history:
“Onion brain’ came to be one of my personal favourite tracks on the album.” Fable says of the track. “The main theme is the acceptance of loss, and the inseparable relationship of life and death. I titled the track ‘Onion Brain’ with a hint to the Buddhist idea that the suffering we perceive is caused by there being a sufferer, a noun. We believe ourselves to be nouns, static and separate, but as we peel away the layers we realise we are but verbs – living, breathing, digesting our experience, always flowing and affected by the world around us.
“I wanted to capture a feeling of helplessness in the opening line, ‘tied to a lamppost barking at strangers’; a metaphor for how little free will we actually have in our lives. But it’s not about trying to fight this, instead the song breathes a sigh of contentment with the worst to come. Coupled with a musical nostalgia for the Beatles and maybe a little flash of Fiona Apple, I wanted the music to invoke a kind of lugubrious joy. I wrote the track on an upright piano in my producer’s second bedroom. If you listen closely you can hear an Amazon van reversing in one of the verses, but the take had so much truth in it, we kept it in”.
I wonder whether we will see a music video for Onion Brain. It is one of the best songs on Shame. A perfect way to end a pretty perfect debut album. Compare this song to something like Thirsty, and you would swear you were hearing another artist! With a gorgeous vocal that reminds me of Fiona Apple and Norah Jones, there is a nudity and vulnerability to the song which gets your heart racing. Fable’s voice is crystal and breathy. It also has this conversational aspect and so much nuance. A truly remarkable vocalist and interpreter, I love the fact that Onion Brain is quite stripped and leaves the album with a sort of calmer note. Such an intelligent and deep writer, you feel like every song on Shame is from Fable’s soul (I should say ‘Gosgrove’s’, but it is hard to separate artist and the person in some cases!). You close your eyes as you listen to Onion Brain. Almost imagining you are in a room with Fable and holding her as she sings this song, every listener will get that physical sensational and need for embrace. Almost up there with Jazz legends like Sarah Vaughan and Ella Fitzgerald, I am intrigued whether we might get more Jazz-influenced songs on the next album. I am thinking about Lady Gaga and Tony Bennett duetting classic tracks. Fable reinterpreting these standards maybe? She is such an amazingly versatile artist that she could do anything in music! I listen to Onion Brain and picture a smoky 1940s/1950s bar and this incredible singer holding the room in the palm of her hands. If Onion Brain does deal with some pretty tough themes, you do get this immaculate vocal performance that sort of lets you know that everything will be okay – and what more powerful message can a song deliver?!
I love Shame (if that wasn’t clear already!). I love Holly Cosgrove. She is an amazing and inspiring human who, through Fable, has gifted the world this very special debut. And I mean ‘gifted’. So many new artists come and go. Many release a debut album that is merely promising. Shame is a debut album impossible to improve upon! That is not to make things daunting and suggest she has peaked. Indeed, being such a wonderful talent who will continue to improve, I think her future material will be even stronger. If that is even possible! There are no boundaries to her limits and talent, so Fable will not have any problems writing (alongside Jonas Persson again, perhaps) a second studio album. Listen to her on Chris Hawkins’ BBC Radio 6 Music show tomorrow morning (you can listen back on BBC Sounds if it is too early for you); go and see her perform as soon as you can. I have reviewed these tracks listening through headphones. I have no idea how they sound live. Getting to experience Guilt of the Act, Thirty or Onion Brain surrounded by other fans; witnessing these songs up close and personal. That is going to be an incredible and unforgettable experience! I wonder whether we might get some new Fable merchandise. I would love to buy Shame on vinyl and cassette. I think you’d get this warmer and richer experience on a physical format. I am not sure if this is an option already, but I cannot see any links. Fable plays Bristol’s Golden Lion this evening; London’s The Lexington on 6th August. There will be so much love for her in those rooms! I would urge everyone to listen to the faultless Shame. Looking at Fable social media channels, and I know how proud she is of the album. She should be, as it is absolutely stunning! In a really crappy week for me (with no end in sight quite yet), I have been lifted and kept stable by Shame. It is an album that ranks alongside the best I have heard in many years. I cannot wait to see and hear what comes next from…
A future icon.
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