The phrase “Broken Britain” has worked its way back into the political discourse of Great Britain in recent months. Both left—and right-wing media have started to utilise this phrase and variants of it with greater regularity. Poverty, healthcare, housing, inflation, energy prices, pollution, crime, and a damaged political system, to name but a few things, have seen large sections of the Great British public throw up their hands, declaring, “Does anybody care about us anymore?”
Well, one person does. Grace Petrie, arguably one of England’s finest folk singer-songwriters, feels and shares our pain. As someone who has tirelessly toured the UK and beyond for years, Petrie has seen the cracks across the length and breadth of this sceptred isle. Instead of repeating the mistakes of the past, Petrie posits the question – why don’t we Build Something Better?
It has been 14 years since Petrie first wrote a protest song triggered by austerity measures imposed on the population due to some selfish bankers (rhyming slang is also true) and their greed. The passage of time has not seen any improvement—quite the opposite, in fact. This has led Petrie to recognise that anger is not just a reasonable reaction to our world but crucial if anything is ever to change. Build Something Better is the product of this insight.
With eleven tracks, Petrie’s 10th studio album has much to live up to, following the superb and critically acclaimed 2021 album Connectivity. So, has Petrie managed to Build Something Better?
‘The Best Country In The World’ is a cracking opening salvo, bringing the album to a vibrant start. This battle march of a song sees Petrie raise her banners, flying them high and inviting us all to ask, “Is Britain really all that Great these days?”. It is a question that needs to be asked. Change can only come through genuine debate and an honest assessment of how things stand. “Striking doctors, striking teachers/And no railway lines to reach us/We would fight them on the beaches/But the beach is full of shit”, scowls Petrie, demonstrating her anger at what the nation has become. It’s a great opener.
Petrie’s venom doesn’t let up as ‘The House Always Wins’ delivers a scathing critique of the dishonesty and immorality at the soul of British politics. It is a quality slice of folk rock with surging strings and a pounding rhythm, with Petrie’s impassioned vocals soaring above like an angry eagle. And angry she is as she dissects the crazy world of failed/shamed/sacked ministers and politicians and their lucrative post-political careers.
“Crash the economy, mismanage public health danger and commit huge harm to civil services, and you will be rewarded with reality TV spots and celebrity treatment for life!” explains Petrie on the song’s inspirations. “This is the clear message from the post-government rehabilitations of Johnson, Hancock and countless others. The idea came as a metaphorical rigged casino, where we all think we’re playing the same odds, but ultimately, the house always wins.”
As Petrie enters a melancholic mood, things slow down with ‘King And Country’. A gentle but rich guitar softly plays, creating a feeling of despair. Throughout the track, the notion of the King, country and the role of the British media are all scrutinised as Petrie elucidates how these do not speak or act for her.
Next up, the socio-political issues of the good old US of A are placed under the Petrie microscope. ‘Meanwhile In Texas’ has a deep south country vibe as fiddle and slide guitar occupy prominent positions in the mix. America has seen a surge in support for far-right beliefs and pro-life dogmas. The abolition of Roe v Wade has opened the floodgates, beginning the potential erosion of the rights of many who do not support these values. The song nods to the poem’ First They Came’ By Pastor Martin Niemöller – “First they came for the Communists, And I did not speak out, Because I was not a Communist…”. Today, it is abortion rights; tomorrow, it will be gay marriage. Where do you draw the line?
“Meanwhile, in Texas, girls are gonna die tonight”, laments Petrie, as back-street abortions and increased suicides will be the price to pay in this post-truth world. Whilst this song is both beautiful and disturbing, it is elevated by the excellent production by the punk-folk workaholic troubadour Frank Turner. It gives it extra energy and a rich sound.
As a society, we have never been more connected, yet we see greater rates of loneliness. Social media gives us a platform, and often an echo chamber, to communicate without the human need for social contact. We sit with our phones, voicing our worries, feelings, and hopes while letting Netflix (other streaming platforms are available) cycle through yet another box set. This seems to be the focus of ‘Next Episode Starts’, a despairing ballad supported by a beautiful acoustic guitar gently bubbling away.
A story of love against a backdrop of a world that is falling apart, ‘Start Again’ focuses on hope and a belief in the power of humanity. The only thing we can depend upon is each other in times of crisis and adversity, especially when many of these are inflicted by the choices of the few. “In the crowds of everyone/I thought I saw the world to come/I saw another Albion”, purrs Petrie, choosing to be positive and showing how one person can start to make a difference they want to see.
Petrie has never shied away from hard graft. ‘Earthwire’ regularly writes and tours, holding a mirror up to the challenges of being separated from a loved one and the eventual reconnection. A song about the joy of love, it tells a tale of Petrie moving from an almost hobo existence to happily becoming a home bird.
‘Cynicism Free’ follows on from this, rejoicing in finding the kind of love you never believed possible and ditching the cynical view of love and romance being nothing but a Hallmark gimmick. “Fill my days with laughter/Happy ever after/But since you showed what love can be/I’m cynicism-free”, croons Petrie proudly – I swear you can hear her smile as she sings these lines. The song has a strong Frank Turner vibe to it. You can detect his fingerprints all over it.
“As a veteran master of empathic music, Frank Turner was the first and last choice to produce. His pitch-perfect instincts have taken my howls of rage and turned them into what I hoped they would be: a soundtrack for hope,” Petrie declares on the collaboration.
Love may be a many splendored thing, but the thought of your life partner shuffling off this mortal coil, leaving you behind with your grief, is just bloody awful. ‘If I Were To Outlive You’ is a Petrie nod towards the 80s classic ‘There Is a Light That Never Goes Out’ by The Smiths. Wanting your loved one to avoid taking unnecessary risks, to watch their health, and to practice self-care to reduce the chance of losing them, Petrie suggests these approaches in the hope of prolonging life. The only agreeable way to lose a partner is if you also go with them. That is more palatable than being without them. With just an acoustic guitar for company, this song fixes on a knife edge of ‘just joking/I really mean it’. The track revolves around comments made, possibly said in a lighthearted way, in conversations with the one you love that have a deep, meaningful, and powerful honesty to them.
‘Fixer Upper’ is another track highlighting how our planet is turning to shit but stating there must be hope. Without hope, why bother going on? If we all get a grip and do our bit, we can be successful. But where the hell do you start? “Maybe I’m delusional, but I think it could be beautiful/If we could only keep from losing heart/And we might still have time to build something better from the past”, Petrie howls as a rallying cry to us all. The song has an anthemic quality to it, urging us to get off our arses and do something to evoke positive change. It doesn’t matter what – make a start.
Drawing the album to a close, we are treated to a chugging ballad. ‘English Culture’ hears Petrie sounding almost broken, her voice streaked with despair and disappointment. Drawing attention to the current trend of promoting division over unity beneath the vigorous waving of the Union Flag, hoping to hide the country’s issues. Media endorsed diversionary tactics at their finest. Shouting about national pride is all well and good, but does it replace the need for foodbanks, reduce NHS waiting lists or counteract homelessness? “You can’t hide cracks with the Union Jack”, cries Petrie in the hope that the flag shaggers peek behind the red, white and blue curtain.
Just when it seems the album will end on a downer, the song develops into a brave and triumphant ending. It leaves you wondering what comes next for us all. The open-ended nature of this record’s conclusion feels like an open invitation to us all to write the next chapter to Build Something Better. Who’s up for it?
Whilst I am in no doubt devotees of Grace Petrie will love this album, it may well open the door to some new fans, too. The decision to reach out to Frank Turner is a bit of a game-changer for me. Several tracks are arguably more ‘radio friendly’, with DJs like Jo Whiley and Mark Radcliffe giving airtime to the single ‘Start Again’. Turner also provides a more emphatic platform for Petrie to demonstrate her well-crafted, razor-sharp lyrics. This is a good collaboration for both parties.
This album is a wonderful balance of rage, anguish, disgust, joy, love, and hope—all emotions Petrie delivers with great aplomb. What could have easily been an 11-track bile-soaked rant has been given equilibrium by looking for solutions instead of just spouting an inventory of problems. The blossoming of Petrie’s loving relationship and the value she places upon it prove that good things can happen even in the darkest times.
Big changes could be coming across the world this year. Embrace Petrie’s soundtrack for hope. That said, it’s the hope that kills you…
Be the first to comment