Jamie Lawson – Happy Accidents (Gingerbreadman)

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Jamie Lawson’s Happy Accidents is a mature emotional retrospective from a writer finally content in his own skin.  Sometimes sombre in places, sometimes romantic or heartfelt, it’s a record of warmth, comfort but most of all connections – all wrapped up in an accessible and easily digestible pop package. 

Lawson’s name will seem familiar to all Ed Sheeran fans.  After all, this Plymouth born boy was Ed’s first signing to his aptly labelled Gingerbread Man Records.

Then again you might also know the guitarist singer-songwriter’s number one self-titled album (2015), which spawned the of UK top ten single Wasn’t Expecting That.

This new record, Happy Accidents, is technically Lawson’s 5th album, if you include his repackaged release on Gingerbread Man.  His first, Last Night Stars, appeared in 2003 on his own label Allotment.  It was intended to be “homegrown and organic” but ultimately was received as a bit on the bland side.  His second, Pull of The Moon, took another seven years, appearing on another label, Lookout Mountain, based out of London.

After releasing that second album Lawson put up a demo of a new song on YouTube, called Wasn’t Expecting That.  A fan recommended it to a radio mate, whose wife was so moved by the song that he immediately put it air, straight from the video clip.  Then Universal Ireland came on board, repackaged Pull Of The Moon and adding Wasn’t Expecting That.  That album charted on the back of the song but soon the interest faded.  That was until Ed Sheeran, who he’d met about 5 years ago on the acoustic pub circuit in London, took up the slack and encouraged him to record for his own label and went on to make Jamie Lawson.

And so to the new one: Happy Accidents was a name was inspired the story of how Lawson met his wife when she stumbled across his gig, they talked, got on well and the rest, as they say is history.  It’s a nice sentiment to frame this collection.

Lawson laid down most of the tracks at LA’s Sunset Sound Studios -where The Doors, James Taylor, Prince, Elliott Smith, Doobie Brothers, and The Eagles, amongst the many, all cut some of their finest album.

The first single Can’t See Straight, co-written by Sheeran and Snow Patrol’s Johnny McDald has a similar vibe to Wasn’t Expecting.  That is a nice transition for current fans.  It’s a soulful singer/songwriter affair that works just as well on one guitar as with a beefed-up band sound.  With catchy rhythms and melodies, it makes perfect radio fodder without threatening to be overpowering.  It’s a reheated tale that totally epitomises how falling in love can totally knock bowl you over at a moment’s notice – universal and instantly recognisable.  Great for a wedding track.

The disc opens with a solemnly styled number, A Little Mercy, one of many that’ll tug on the ol’ heartstrings – and a bit of a diversion from Lawson’s usual themes.  The song was written with Simon Aldred (Cherry Ghost) after Lawson spent some quality time with Aldred’s album Herd Runners, which has a similar feel.  Lawson says that the tune was recorded on the same day Trump was sworn into office, so with the mood of America so low it seems the perfect and only song to lay down that day.

Along the lines of more romantic, traditional love song are ones like Miracle of Love.  This is about loss and losing someone, of wanting to help but feeling helpless instead.  It’s made particularly good by Roger Manning Jnr’s distorted and gnarly soundscape, which adds just the right touch of seasoning.  Given he was a former member of Jellyfish and now plays keys with Beck it’s no surprise.

Falling in Love and Tell me Again are also in the same vein, but most tender, yet catastrophic is The Last Spark.  Written with McDaid and Gary Go it was made to be intentionally anti-commercial using unusual, strange minor changes and flat diminished chords

Sing to the River is a different kind of heartbreak about the passing of Lawson’s father, the first time he has been able to write about that part of his life.  This one certainly spoke to me the loudest, having known a few people who’ve crossed over recently.  Penned with Chris Braide, who’s written hits with Sia and Lana Del Ray, it also includes the Arnold Singers, who’ve backed James Taylor, one of Lawson’s heroes – so that ghost is alive and well.

Although his father died 22 years ago, the memories are still fresh for Lawson.  He’s said in an interview that after his father died he’d listen to Carolina In My Mind, and having no idea where Carolina was, the young boy would think of his Dad as being there fading out of the song.  Sing to the River is Lawson’s therapy and you really do get that impression through the lyrics and mood of it.

I Almost Gave It Away sees Lawson regretting taking things for granted, especially love and friendship.  Again, it’s a common theme but nicely delivered with a gentle style so as not cause distress.

There’s no bells and whistles or magic studio trickery on Lawson’s music, just eloquent, well-crafted pop in in its simplest form.  Mainly guitars with a little bit of band additions here and there.  A few producer moments.  Ultimately, it’s sound is lush but sparse.  I’ve always said that a good tune could be done by anyone from a Welsh Male Choir to a 10-year-old on a harpsichord.  That’s why the Beatles are eternally perennial.   I think Lawson has some of that in his song writing, too.  And he knows the importance of holding back for deeper impact.

Despite the title’s origins, this wasn’t entirely meant to be a romantic album. Numbers like Fall into Me and Time on My Hands add some spice.  That means not all the 17 seventeen tracks on this collection are sombre heartbreakers but the fact remains that any of them are.  As an album, I don’t really know if you’d take it all in at once.  Either way there is no filler.  It’s a good thing.

Tim Gruar

The 13th Floor
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