Born and raised in Glasgow with half-Scottish, half-Irish heritage, Martha L. Healy is perhaps an unlikely star of Americana. Yet, with the likes of Bonnie Raitt, The Travelling Wilburys, The Eagles, Dolly Parton, and Patsy Cline among her early influences, and the authentic Celtic roots that are automatically afforded to someone of her descent, her placement in a traditional country sound finds Martha perfectly at home. To record her debut album ‘Better Days’, she high-tailed it to Nashville, Tennessee in order to work with the best, surrounded by the physical representations of where country emanates. The result is a very complete, and carefully curated record that sees Martha in her element, making the music she feels comfortable with and not sacrificing anything for commercial expectations.
From the opening of the title track, it’s very clear that this is an album with a healthy dosage of twang. Uncompromising, and unapologetic, ‘Better Days’ features a melding of harmonica, fiddle, banjo, accordion, cajon percussion and Martha’s inflected, raw and unavoidably southern vocals, something which continues to appear throughout the album. A similar style and arrangement is used on ‘Too Much Vodka’, a joyful, catchy offering about drinking too much and waking up the next morning full of regret, rather hungover but amused at the stories of what she did! While clearly a little embarrassed, she refuses to be ashamed for her behavior (despite society’s expectations of women), the kind of progressive attitude that she would have inherited from idols Dolly and Patsy.
She also inherited their soul-shaking heartache ballads, too. ‘Enough’, for example, take stylistic influence from the modern country folk of Lori McKenna, but like Lori, its lyric looks to the country music of yesteryear for a truly heartbreaking depiction of the falling apart of a relationship. ’13 Hours’ also plunges the depths of sadness, a lilting mid-tempo ballad detailing the desperate loneliness following a lover walking out, while ‘Shame Shame Shame’ opts for a soulful, gospel-infused message to a cold-hearted ex-lover. Martha has her sassier moments too, and ‘Nobody’s Dead’ fashions itself as more of a kiss-off, with a chorus about as cheery and line dance-worthy as it is possible to get.
The Celtic side to her music comes out further on tracks like waltz number ‘Burtonport’, and the folk singalong ‘The Loving Kind’, while ‘State of Blue’ has jazzy, Americana leanings. Often the highlights of the record are where Martha engages in stripped-back, emotional ballads, however, and ‘House of Love’ is one such example. Beginning quietly and thoughtfully, this religious testimonial culminates in a rising gospel choir to bring home its message with poignancy, while closing track ‘Healing Wind’ keeps to acoustic guitar to wish healing to those in pain.
‘Better Days’ is not so much a mission statement as it is a look beyond this album to the future. The songs here are not depictions of those better days but rather acceptance of hardship, combined with the hope that one day, things will look up. ‘Healing Wind’ is an appropriate way to end a record that sees its characters in turmoil, for the most part. Because one day, things will get better.
