Weimer Bitter?

I had to go to work today, and I'll have to go again tomorrow, so I'm in no great mood to write loads about this review. Make up your introductions and post them in the comments. I'll pick the best one, and the author will win something brilliant, like a crisp.

The title of this post will only make sense if you know the names of Oxford singer-songwriters, and indeed how to pronounce them properly.

BETHANY WEIMERS demo


What’s the opposite of damning with faint praise? Praising with lax damnation, perhaps. Doesn’t really have the same ring to it, does it? Anyway, whatever it is I’m about to do it to Bethany Weimers. The thing is, everything is relative. Just last week, I was sitting here typing a good review for The Gullivers: theirs wasn’t a perfect record by any means, but it was impressive because they’re moving in the right direction so confidently. By contrast, Bethany is a startling vocal talent, who has turned in a wonderfully assured CD, despite her protestations that it should be treated as “demo quality” only. Trouble is, over the last few years, so many incredibly talented acoustic singer-songwriters have sprung up on Oxford’s open mics and unpretentious gigs such as Beard Museum - anyone who managed to make it to the opening of last week’s Punt in Borders will verify that there is some serious ability out there - and Bethany seems to be somewhat overshadowed at the moment. In another town, or in another era, I’m sure I’d be quick to support Bethany, because she has plenty in her favour, not least a lovely, breathy voice, with an affecting catch at the top end (even if she overdoes it a tad on “Bitter Love”). She can also clearly interpret a lyric, and add drama to her performance in a manner that makes her sound much more mature than her 25 years.

But it’s so bloody dull. Nothing wrong with the songs, per se, but they do tend to pootle round their chord progressions like a one speed bike, and really the only good thing about these pieces is their performance. Like I say, we’ve been spoilt with our acoustic acts recently, but the thing that stands out about a Pike, a Bite, a Craig or a Machine (erm, as in Family) is that the compositions are memorable and well constructed, which makes the beauty of the performance a special bonus. Bethany reminds me of Emily Rolt, another local with a gorgeous voice who’s let down by the mediocrity of her material. True, “Try A Bit” enlivens the demo a touch by injecting a little mariachi fire, and judging from the recording the audience at the live recording of “Listen” are clearly spellbound, but mostly it all drifts past like an attractive but insubstantial fog.

So, you can file this review under Cruel To Be Kind, as it’s all rather loving criticism. Bethany is extremely able, and could easily make a serious mark, but this isn’t the demo to do it. Ultimately, there are two definitions of “excellent”: firstly, something that we feel is great, because it knocks us out, and secondly, something we decide is great, because it’s clearly so much better than lots of the old rubbish in the world. At the moment, Bethany falls into the second category. Still, if “the wrong sort of excellent” is the worst criticism Bethany gets, she’ll do very well for herself. Praising with lax damnation: it’ll be the new craze with kids now, just you wait and see.