Review: Coleman Williams ‘The Magnolia Sessions’
When he created The Magnolia Sessions back in 2020 to showcase real country, bluegrass and folk music, Anti-Corp Musicmain man Dan Emery had little idea of the institution they would become.
In the time since the first release of Matt Heckler’s Appalachian blues, the series has covered some incredible artists such as The Lost Dog Street Band, Austin Stormbaugh, Jamie Brodie, The Hill County Devil, Cooper McBean and more than I can realistically mention.
All have made the trip to the Nashville compound that operates as the heart of Anti-Corp/Black Matter Mastering and sat under the magnolia tree, which gives the sessions their name, in order to record raw, stripped-down sets. Free from commercial demands and expectations, it allows the artist to bear their soul and speak their truth with only the sound of the summer insects that bear witness.
After taking a break from the relentless schedule, The Magnolia Sessions returned in late 2024 with a session from Willi Carlisle, released to benefit victims of Hurricane Helene, but have been relatively quiet since then. Finally, almost lost in the run-up to Thanksgiving and the holiday season, Emery delivered a very early Christmas present in the form of an album from Coleman Williams.
Eagle-eyed country fans will immediately spot that Coleman is indeed the fourth generation in the legendary dynasty that carries the Williams name and is the son of Hank III, ergo the great-grandson of Hank Senior. Having entertained dreams of being a writer, gaining a degree in literature and spending his time as a teacher, it would take Coleman until the age of 29 (the same age that his great-grandfather would depart this life) to enter the music industry.
Since his first single, Son Of Sin in 2021, Williams and his band, IV And The Strange Band, have released two albums, Southern Circus (2022) and Hang Dog (2023) both produced by Shooter Jennings, producer, artist in his own right and son of Waylon Jennings. Fiercely independent, Coleman’s specific dream is to show love and pride to his roots and upbringing, as well as to get people out and be a little weird at his shows.
Armed with a handful of tracks that he had written with Ethan Salad on guitar/backing vocals and Hunter Mellish on upright bass to fill the gaps on more complex arrangements, this session has the distinction of being the first recording to bear the name Coleman Williams. The pride is something deeply felt by Emery when he says, ‘I cannot put into words how completely honored I am to be able to introduce the world to Coleman Williams’ solo material. As an artist he stands on his own and creates from his vision, despite the more predatory aspects of the music industry…’
After a brief introduction highlighting the additional musicians, he launches into the intro of For The Birds with slides and picked notes before the warm bass and second guitar joins the merry chug. The upright bass adds a jaunty foot-tapping rhythm to complement the clack of the strings as the upbeat tempo allows Williams to warm his distinct vocals in the rapid-fire delivery.
this snapshot is one of an artist truly beginning to embrace the Williams legacy and stretch his wings on his own terms…
The follow-up Whippoorwill teases a slow start before barrelling into a more raucous and forceful feeling swing. With a bigger chorus backed by Salad at the key moments, fingers fly over the notes as Coleman weaves his tale using the lonesome bird to hint at connections with a musician’s life, with a nod to his own great-grandfather. One of several tracks on the session that involves birds, the gentle, folksy Americana is soulful and comforting as it evokes nostalgia and revels in the feel of the warm summer night.
Alley Song starts with a heartfelt ode to the city of Nashville, concluding ‘click your boots behind Broadway and you’ll feel more country than I ever could describe’, not in an effort to tear down the shiny, new view of the city, but just to give love back to its genuine soul. As expected, the song tugs at the heartstrings, beautiful and embedded with that lazy sway that seems so effortless, but captures the very essence of the sentiment with a great solo.
This genre wouldn’t be the same without a sad song, and Williams kicks off his truly solo portion with one that hurts, the deeply personal Cigarette Ends. Naked and raw, this focused, stripped-down performance is a yearning, faltering track that laments the demise of a relationship that recalls good times and how it came crashing down.
What’s Due and Why I’m Walkin’ contrast between the heavy strums of the former, with its dark, downbeat sorrow and picked leads, while the latter is a cover of the underrated Stonewall Jackson song. United by aching hearts, one is resigned to accepting fate and the other walking away with regret.
The tributes continue with one of his solo tracks, Hang Dog. A love note to his old dog, which is about as sappy and touching, and a lovely rolling groove as you would imagine, before Alligators low, sighing, tentative stabs of guitar help propel the obvious emotions of the song.
The Door preaches restraint as Williams contemplates the existential with some nice techniques to add flavour to the lone guitar and voice. Owl then closes out this captivating recording in a powerful acapella refrain where you can hear the emotion break in his voice as the session fades quietly into the chirping sounds of the Nashville evening.
Even a cursory knowledge of country music should tell you that Coleman Williams and his Magnolia Session is a big coup for Emery. Williams carries a heritage that eclipses the other talented artists who have sat under the tree. Recorded under his own name, this snapshot is one of an artist truly beginning to embrace the Williamslegacy and stretch his wings on his own terms, making this a must-listen for country aficionados
Label: Anti-Corp Music
Band Links: Official | Facebook | Bandcamp | Spotify | Instagram
Scribed by: Mark Hunt-Bryden
