Sydney Morning Herald

4.5 stars

Lane’s beautiful tones and Americana folk conjure images of the lonely travelling musician. This feels like Lane’s comfortable, musical and mental landscape. Whether drowning sorrows or raising one’s head from them, this guy is one of the country’s contemporary legends. He is a master minstrel who, sheltered from the commercial market place by his love of a rich folk art tradition, deserves more attention. With the highlights on this five track E.P. cleverly outweighing the low ones, this gets filed under K, for Keeper.

FBI Radio Sydney

Take pieces of Jeff Tweedy, Ron Sexsmith and Jackson Browne, melt them down in a beautiful crucible of music and you end up with Jordie Lane: a truly diverse folk musician…
The Melbourne-born, LA-based troubadour possesses a sound drawing from all these different influences that somehow results in something completely individual. Oh, and did I mention that the resulting sound is excellent?
It’s bloody excellent.
Lane’s most recent release, the five-track EP Not Built To Last, is a beautiful collection of songs possessing a somewhat unique, if occasionally bleak outlook on love, that all the while highlights his diversity.
Opening track ‘Here She Comes‘ is upbeat and uplifting. From the bellowing piano to the jangling electric guitar, typical of that big country sound, it is the perfect way to open a record. Lane’s voice is smooth and sincere, as he waxes lyrical about the pleasures, pains and complexities of love, singing out: “That knife called love, has just found its mark.”

Beat Magazine

A gentle grind of vintage folk-pop, Jordie Lane pushes the tremolo in his voice while brandishing touches of George Harrison slide guitar and Revolver harmonies. It’s a well put together piece of work, thought the slide action could have been giving more of an airing, but Jordie’s voice still proves capable of carrying the majority of the load.


4 stars

This long-standing singer-songwriter’s new offering exudes professionalism and versatility, shifting between a slow, meandering mood (sometimes carefree, pining at others) and more upbeat country ballads. Uplifting opener Here She Comespairs a steady rhythm with clacking percussion, over which a boy-girl duet harmonise and croon in their country twang. Lane’s powerful, wavering, folk-steeped voice continues in Dead Of Light– a sprawling, expressive folk tune. The next few songs lean towards more traditional country with their acoustic guitar and gentle, longing tones in which lyrics are clichéd. He plays 9 Nov at Thornbury Theatre.

Casual Band Blogger

After one listen to a Jordie Lane song, it’s blatantly obvious that you’re in the midst of something special. With a voice and sound that come from another time, his Bob Dylan and Paul Kelly influences shine through tremendously as he transforms their similar country folk compositions into a masterpiece all of his own.
Listening to his latest single from upcoming EP Not Built To Last, ‘Here She Comes’ provides all of the warm and fuzzies, and like many of Lane’s other works, makes you feel like all is right in the world. So effortlessly charming anyone who hears his unique voice, the vocals occasionally slip into a range comparable only to the late great Johnny Cash.

The bittersweet lyrics are paired with a finger-plucking tune that allows ‘Here She Comes’ to showcase every inch of talent that Jordie Lane has on offer. From instrumentals to vocals, the single is a mouthwatering teaser for what’s to expect on the new record.

Standing in a league of his own, Jordie Lane is Australia’s hidden diamond. Giving the single a listen will be the best decision you’ve made all week, that’s a promise.

Rolling Stone
4 stars
“Jordie Lane’s debut album may well come to be regarded as one of the most assured ever by a local artist. Displaying the soulful tenderness of Ron Sexsmith and Ray LaMontagne…, Sleeping Patterns is a rare treat”.
– Rod Yates

Rhythms Magazine
“Jordie Lane confirms his reputation as one of this country’s brightest new roots music stars with a long overdue debut album”.
– Martin Jones

4 stars
“Young man, old soul. Jordie Lane is in his early 20s, but he sounds like an old-school troubadour, a man with a million stories to tell.
– Jeff Jenkins

The Age EG
4 1/2 stars
“One of the most assured debut albums by a Melbourne singer-songwriter in recent memory, Jordie Lane’s songwriting and voice are underpinned by a maturity that bellies his age.”.
– Patrick Donovan

“You can’t help but cry “Genius!”
Rhythms Magazine

“Evokes the subtle moments of being human,” reads the description of Jordie Lane‘s recent clip single Not From Round Here from new album Blood Thinner. Truer words were never spoken. If Jordie Lane’s music cannot evoke something in you, perhaps you have bigger things to ponder.
With a voice that resonates among the local folk scene, Lane’s music will taunt the wandering soul in you, while at the same time brings you back to what is simple and poignant in everyday life. Perhaps it is that he takes the time to see the things in life we often miss. Whatever the reason, Lane is making large waves not only in Melbourne, but as one of the leading singer songwriters in Australia today.
“Lane has a knack for saying only what’s needed and…provides a unique appeal with every one of his songs”
Rave Magazine
“Lane…has created a work of beautiful honesty and intimacy…despite his young age.”
Drum media
“Recorded in the US on a Tascam 4 track Porta-Studio Cassette Machine (very old school recording style kids), with all instruments including guitar, banjo, kitchen utensils, wine glasses, boxes and even Tupperware played by Lane, ‘Blood Thinner’ could have either ended up being a train wreck or as it turned out, a masterpiece. This is no doubt due to the co-production and mixing by Tom Biller he who has produced Beck, Kanye West and Fiona Apple amongst others. So this might all sound pretty weird on paper, but stick the headphones on and there is some wonderful magic to be enjoyed.
The opener Diamond Ring is chock-a-block with guitar, banjo, (box?) drums and a distinctive voice that sounds like its owner has had his heart ripped out not once but twice or thrice. Annabelle Marie is a plaintive call, over guitar and subtle brush work on boxes, for something more substantial than what could have been an encounter on tour. Thin My Blood though starts with an up tempo banjo riff, almost 4/4 time, Lane telling the listener not to tell me how to feel. See the pattern here? ‘Blood Thinner’ is about love in all its melancholic forms, and not once does Lane hold back on his thoughts. Side A finishes with Room 8, a brief recording of the sounds one hears in the room that his hero Gram Parsons died in, Lane staying and recording in the same said room.
Side B opens with the alt/country feel of Old Time Spell, a track that would not have been out of place on any of Parsons’ work. Lane’s love of the West Coast is writ in spades on Hollywood’s Got A Hold where he sings. “There’s so many hopes, and dreams on the table”. Of interest is his cover of Parsons’ I Just Can’t Take It Anymore, a choice guaranteed to have the listener wondering where Lane is emotionally at.
Simply put ‘Blood Thinner’ is how records used to be made and should still be made, as it uses the bare minimum of instruments, was recorded simply and easily and most important of all contains material that will stand the test of time. Outstanding.”
DB Magazine
From the plaintive opening plucks of Jordie Lane’s second album, Blood Thinner, you get the immediate whiff of distinction. You know those rare recordings that offer an inexplicable tone of gravity before the lyrics and melodies have even registered? Seems Lane headed into the Californian desert on one of those Gram Parsons pilgrimages. Something happened out there (we’ll find out more about that when Lane stars in next month’s Rhythms). He was one of the few who actually come across the spirit of Parsons. Armed with that spirit (and possibly a few other more potable ones), a few instruments, a four-track, a heart full of turmoil and a head full of ideas, Lane blurted out a bunch of songs in his Joshua Tree hotel room.It is a great musician who can make something compelling armed with very little (see Gillian Welch and David Rawlings). With only his guitar and banjo, some boxes and Tupperware for percussion, and random objects like a $10 garage-sale harmonium, Lane has excelled in creating a sonic palette that is both elegant and exciting. When the beat-box style rhythm kicks in on ‘Room 8’ (ode to the hotel room in which the recording was initiated), you can’t help but cry “genius!” And is that a ringing wine glass at the end of the song? In those country/folk meets contemporary ingenuity moments, Blood Thinner reminds me of some of Steve Earle’s more recent work, particularly Washington Square Serenade. The constant creativity in the arrangements has you on the edge of your seat the whole record. Lane clearly recognised what he had captured on tape and took it do some hi-fi dudes for further treatment, Grammy winners Tom Biller (mixing) and Reuben Cohen (mastering) in the USA.
The next thing you’ll notice is how far Lane has come with his guitar playing and singing. Nearly all 12 songs are based around Lane’s fingerpicked acoustic guitar, augmented by some tasty sprinklings of banjo. In fact, on songs like ‘Not From Round Here’ that’s all you’re hear besides Lane’s voice.Now to that voice.Bearing the most responsibility on Blood Thinner, Lane’s voice rises to the challenge as a force of power and grace. The album bio raises Springsteen’s Nebraska as a point of reference and not without cause. You know how you can picture Springsteen alone in the dark in some shabby room singing those Nebraska songs and you’re compelled by the truth of every single word? You can picture Lane sitting in that Joshua Tree room in much the same fashion, moaning that truth like his life depended on it. And maybe it did. Both his harmony singing, and more bare performances (check out ‘Waters Clear Here Dear’) are breathtaking.The album opens in a Welch/Rawlings tone, Lane providing, as he does for almost the entire album, all the instrumentation, backing himself on banjo and harmonies, with ‘Diamond Ring’, a potent two-and-a-half-minute tale of heartbreak.
Second track ‘Annabelle Marie’ is immediately striking, McCartney-esque in its bird-song melodiousness and pretty finger-picking, before the title track heads back to Welch/Rawlings territory with some incredible harmonies and Dylan-like lyrical bursts. Again, the whole thing’s over in two-and-a-half minutes, job done.
Like Welch, Lane has a knack for juxtaposing the ancient and the modern – ‘On The Net Till Morn’ talks about online lust in a traditional country-blues format. He’s also capable of claiming ownership of such well-worn forms. You’d sware the closing gospel opus, ‘I Sinned Today’, was lifted from an esteemed troubadour of yesteryear.
But, like Nebraska, Blood Thinner is not an album in which individual songs immediately jump out at you. They are like chapters of a book, each a critical part of the whole experience, each similar in tone and spirit, each contributing to the cumulative effect. That, my friends, is what they used to call an ‘album’!
Rhythms Magazine
The talented Melbourne multi-instrumentalist soaked up the Mojave Desert on a recent visit to California and channelled Gram Parsons for these melancholic paeans to girls in bands, girls with scorpions in their ears, girls in motels…and other topics that might interest a young man on the road. He’s in possession of one of those grand counrty voices that straddles remorse and reproachfulness. A finger-pickin’ good second solo LP that evokes thunderstorms, campfires and sawdust-floored ale-houses.
J Mag – Jenny Valentish
Having spent the past four years building a reputation as an emerging folk talent, Jordie Lane’s debut album may well come to be regarded as one of the most assured ever by a local artist. Displaying the soulful tenderness of Ron Sexsmith and Ray LaMontagne, and imbuing it with a fine appreciation of American country and folk, opener “The Publican’s Daughter” demonstrates Lane’s talent for storytelling. It is, however, the album’s more tender moments that leave the hairs on your neck standing to attention. “I Could Die Looking At You” is one such number – quintessentially Australian, courtesy of its Banjo Patterson references, but Lane’s gentle finger picking and intimate vocals lend it a sombre grace that is universal. “Fell Into Me”, meanwhile, proves he’s equally adept at conjuring a soulful, full-bodied band work-out that rocks. Produced by Jeff Lang and Tim hall, Sleeping Patterns is a rare treat.
4 stars
Rolling Stone Magazine – Rod Yates

On Saturday night, I convinced some of my best friends to travel 300 km, and along with my girl and my family, to take a leap of faith and come join me at Festival Hall to see someone i had barely heard and someone we had never seen. I can’t explain what compelled me to do so, other than some strange intuition and a certain desire: every once in while, fleetingly so, live music does form a union, where something is so brilliant in its beauty, its craft, its tenderness, or its energy that you look at the person you are with and just have that incredulous/happy ‘i can’t believe we are witnessing this’ moment.  That’s all you can hope for from a live show – sometimes those moments flicker and sometimes they don’t appear, and the thrill can be hard to replicate. Any prior doubts or uncertainties i had on Saturday were quickly put to rest in about half of one of Jordie Lane’s songs; we became mesmerized by his voice, his charm, and his songwriting ability. Another Aussie gem largely unheralded in our vast continent.

Let’s cut to the chase right here – the debut LP from Melbourne based songster, Jordie Lane, is an absolute cracker, and in fact, I’ll go out on a limb here and say that this will come in as Record of the Year. Perhaps that’s a phrase bandied around a little too often by music writers at inappropriate times of the year (like, not at the end), but Sleeping Patterns is so damn good and we’ve been waiting so damn long for it, well, words basically fail me. It’s honestly that good. Is this an unstructured rant? Yes, yes it is – but with good reason. Lane has been building his following slowly but surely over the past five years or so and over the course of this time which has yielded two EPs and a record from side-project Fireside Bellows (also fantastic), Lane has matured into one of this country’s best songwriters. Coupled with his guitar prowess and help from a host of guests (Jeff Lang, Liz Stringer and Steve Hesketh amongst them), this is a record that slides elegantly from folky ballads to rollicking blues numbers to country twang. The word of the day is Fuckin’ Brilliant, and it’s directed all at Jordie Lane.
9.5 out of 10
Tsunami Magazine
Another appealing advocate of Americana Australia-style
It took Melbourne singer-songwriter four years to finally get around to his debut album, but when he did, it came quickly. Produced by notables Tim Hall and Jeff Lang (adding plenty of his distinctive guitar to the mix) and featuring guests like Liz Stringer and Laura Jean, it took only five days to assemble these 13 tracks. Not that it sounds at all rushed, especially when you hear the patient roots balladry of tracks like The Day I Leave This Town and I Could Die Looking At You. That latter song, incidentally, confirms Lane’s connection with this country, drawing on the legacy of Banjo Patterson. We also get an Australian’s perspective on the darker side of a visit to Vietnam in War Rages On, where Lane’s simple but effective guitar picking gets a lift from Salvation Army-like horns. Yet, despite the sense of place in the narratives of these songs, Lane’s inspirations come from further afield – specifically, American folk, country and blues, clearly evident in rollicking tracks like Dig Straight Through and the Dylanesque romp of John W Thistle. Served well by a voice that sits between wistful and weary, between emotive and earnest, Jordie Lane is about to wake people up with this set.
Rave Magazine
Dear Arts Victoria (and more specifically, the person who decided to fund this recording): well done. The best thing about this album is Jordie Lane’s voice; a strong and beautiful voice, capable of gravelly rawness, heart-tugging howls and a melancholic sweetness. It’s in keeping with the songs themselves, which are classic country/ blues/ folk compositions: simple and flowing so as to let that voice shine through.Still, there’s variety enough; some tunes are 100% blues, others have a slow and grinding groove and still others are so relaxed and gently-formed that they flow like a warm ladle full of winter soup. The lyrics too are varied; there’s a tender balance on “Sleeping Patterns” of abstract imagery and literal storytelling. Lane is poignant in War Rages On, Dylan-esque on Dig Straight Through, impressionistic on Clearer You’ll See and a Fauve on Love Has Locked The Door. Some songs have distinctly local themes: at his best, Lane captures what it is to be a 24 year old Melbournite, but there’s no particularly Australian flavour to the music itself.What do we have so far? Well-written songs and a rich voice. Holding it all together are some respected local artists – Jeff Lang (guitar) and Ashley Davies (drums), for example : providing tight yet spacious instrumental backing. The occasional brass is particularly understated and lovely, forming a current on which Lane can float with confidence, and the combination of Hammond organ and banjo proves surprisingly winning.”Sleeping Patterns” is not the most complex recording you’ll hear this year, but because each element has an individual elegance to it, yet fits the whole so well, listening to this album is a genuine pleasure.
DB Magazine
There are plenty of characters populating Melbourne troubadour Jordie Lane’s debut album, Sleeping Patterns; the great-great-granddaughter of Clancy of the Overflow, tin whistle player John W Thistle, a publican’s daughter that brings visiting musicians to wrack and ruin. Whether their origins are in fact or fiction, each of Lane’s characters comes to live in his deftly woven tales.
Though his early songwriting showed plenty of promise, this debut is a tremendous leap forward. The music is a mixture that blends elements of roots, country, folk and dusty rock so at times Lane could be compared to Ryan Adams or Wilco and at others James Taylor.
The album was recorded in just five days with Jeff Lang and Tim Hall on production duties and you can hear the organic creation of these songs in the earthy and warm tones being wrung out of instruments played by local Melbourne identities like Steve Heskith, Ashley Davies, Liz Stringer and Laura Jean.
Lane’s songs aren’t just stories about the unexpected people you come across in life. There’s also the heartbreakingly beautiful The Day I Leave This Town, where Lane gets introspective and ponders his many possible futures and the things he may have to face in his life and There Once Was Life To Come with its ever swelling horn part.
Like Ryan Adams’ Heartbreaker, Lane on Sleeping Patterns manages to convey a world of emotion in these songs and not just because of his storytelling skills. His unassuming but resonant voice is the other reason this album will connect with anyone willing to give it a spin.
Danielle O’Donohue, Drum Sydney
Not many artists can release two excellent albums in under a year. Even less can call them both debuts. Confused? Well Jordie Lane happens to be one half of The Fireside Bellows, who released their excellent album No Time To Die late last year. Now, barely eight months later comes his even better solo debut, Sleeping Patterns.
Aided by some of Melbourne’s best musicians and co-produced by Jeff Lang and Tim Hall, he has mixed folk and country and delivered a fine acoustic album. His love of Dylan, Van Zandt and Hank Williams are fairly obvious, but he is certainly not a pale imitator. Once again, the little indie label Vitamin has released one hell of an Australian independent album.
Readings Monthly, June 2009, by Dave Clarke
One of the most assured debut albums by a Melbourne singer-songwriter in recent memory, Jordie Lane’s songwriting and voice are underpinned by a maturity that bellies his age. Lane, 25, promised much on last year’s collaboration with Canadian songwriter Tracy McNeil under the moniker Fireside Bellows but here he delivers on all 13 songs. Co-produced by Jeff Lang and Tim Hall, a Vic Rocks recording grant enabled him to hire stellar local musicians to embellish the album with horns, Hammond organ and banjo. Lane is an old-fashioned storyteller. His raw and intimate yarns range from a cautionary tale in The Publicans Daughter to a stunning, melancholy travelogue in Vietman in Walking That Way, which like many songs here, was inspired by his dreams. The stories have local flavour, featuring Clancy of the Overflow and a Northcote busket. His commanding voice recalls Loudon and Rufus Wainwright and Jeff Tweedy but it is his own and he always controls it. Exciting times from a vanguard of Melbourne singer songwriters that includes Downhills Home, Van Walker, Matt Joe Gow and Brendan Welch.4 1/2 stars
Patrick Donovan,The Age EG 2009
The millionth roots revival continues at a steady pace in Melbourne with this often-astonishing debut from young blues/folk singer Jordie Lane, still only 24 years old. The record was produced and mentored by local blues elder statesman Jeff Lang, who also plays in the band with drummer Ashley Davies and sometime Jet keyboard player Steve Hesketh. Lane wrote these songs over four years and recorded the album in five days in a Fitzroy warehouse, yet despite his tender years he projects a lovely world-weary, old-time wisdom; a song such as “War Rages On” seems to draw on experiences gained from a troubled life well lived – the song writing here aspires to the anecdotal, literate insights of a Bruce Springsteen or a Don Walker.
Chris Johnston, The Age (Melbourne) Magazine
Jordie Lane is just one of those musical oddities. He cannot be explained easily using words. The character that emerges from his music reads more than a few sentences. Listening to his contemplatively mellow tones, you are hit with the sound of a man further advanced in his musical journey than his age would otherwise have suggested. At twenty-five years of age, he appears to have a firm grip on a style that takes others a lifetime to come to terms with.It’s arguable that Sleeping Patterns is a much more cohesive work, with strong indicators that Lane has come along in leaps and bounds. Not only has he progressed with his songwriting, he has also shown signs of improvement with his production. Compared to his other musical project Fireside Bellows, Lane’s debut solo effort is bigger on production values and heralds the onset of a much more personal journey.
Lane’s voice is a voice that commands respect. It has with it the solemnity of wisdom and experience, as well as the exuberance of youth. When you consider his age years it makes the overall journey of his music that much more compelling.
He succeeds where so many others of his ilk fail. He engages with the listener with such clarity. In the folk genre the artist can become too inwardly focused and as a result, lose the audience in a sea of self-indulgent murkiness. With Lane’s overall lyrical dexterity, he is a natural teller of stories. The audience can’t help but listen. He commands it.
It’s Lane’s willingness to experiment with light-hearted humour that also makes Sleeping Patterns and all-round success. Not limited to his dalliances with humour, he also experiments with other polarized areas of melody and verse, managing to straddle a delicate balance between heart-warming ballad and ball tearing madness with great effect.
After winning a Vic Rocks grant, he has managed to bolster his uniquely hearty sound with all manner of organs, fiddles and country associated madness. And the end result proves the money has been well invested.The Publicans Daughter serves as a solemn warning to the protagonist. The War Rages On delves into the troubles of the forgotten often forgotten in Vietnam, while the soothing The Day I Leave This Town offers a brutally honest view of the uncertainty of maturation. The most exciting and visceral experience on Sleeping Patterns is John W Thistle. Although it’s been done, it still remains a whole lot of fun. The strained vocals are reminiscent of early Dillon, while the Hammond organ offers nothing less than pure adrenalin for the listener.The importance of Sleeping Patterns cannot be understated. It shows that with the right assistance, a talented artist is capable of amazing work when afforded the right opportunities. It’s with this assistance that Jordie Lane has had the means to create his vision with as much accuracy and clarity as possible. Hopefully it is with Sleeping Patterns that a long and fruitful career for Lane is established. One gets the feeling that we certainly haven’t heard the last from him just yet.
Chris Wood, The Dwarf 2009
The debut full-length of Melbourne musician Jordie Lane, Sleeping Patterns is a captivating collection of stories sung in Jordie’s arresting style, and drawing upon folk, western and other acoustic traditions. Co-produced by Jeff Lang and Tim Hall and featuring guest appearances from local roots artists Ashley Davies, Jeff Lang, Laura Jean, and Liz Stringer, the album is a beautiful showcase of the immense talent at the heart of the project.
Simon Winkler. Triple R 2009

It’s hard to accurately describe the feeling in the room but it’s music like Jordie’s that makes it seem like the world’s not such a bad place, and nothing evil could exist when there’s something so sweet as that” AU Review

“Well Jordie, after that gig we could all die listening to you!” Rip It Up Magazine

“A very special gig and once again a great example of the quality folk music this country can produce. Thank you Jordie Lane” Timber & Steel

“First up was local boy Jordie Lane. If ever the term ‘old soul’ were to apply to anyone, we’ve got a live one here. Close your eyes and listen to the words – which you can actually hear, a rare thing in any venue – and you’d swear they were coming from someone twenty years older. His Vietnam tune War Rages On exemplifies this. The delicate picking style and distinctive lilt of Australiana frames this bright young talent as our new singer-songwriter du jour. He seems at ease with the crowd, and reveals himself as an old hand on the tough touring circuits, where he was unfortunately asked to play Robbie Williams for clearly unappreciative crowds.

There’s also plenty of versatility here, and the set is split nicely in two: the folky first half and dirtier, bluesy second half, like the two sides of a coin. Lane possesses the ability to ride the acoustic wave from mournful and dark balladeer to pure open-road expansiveness, and joking Aussie wit. There’s a seam of Americana in here too, as is the case with many songwriters of a bluesy lean. It doesn’t undermine what he’s trying to do, though – just adds a little colour to proceedings. The band finish on a fun-time blues number, pumping us up for what’s to come next.” Faster Louder – Oct 21st 2009 Live Review, Prince Bandroom, Melbourne – Support for Tex Perkins

Having been given a generous support slot- a full hour- Jordie Lane opened the stage at the Prince of Wales as though the show was his own. The venue was doing great things for Jordie’s calm, vocally prominent work early on (as was the man’s diction, mind you) and you could hear every word in his Vietnam tale just right – the sound techs know what they’re doing at the Prince. As the set went on and more early-comers filled the room, the tunes did get louder, but Jordie’s voice stayed strong; his singing style reflective of Paul Kelly – lyrically dominant, with an Australian-accented tinge creeping through.

From the slower folk majority of the set, Jordie and band built things up as they had more faces to play to. A rollicking diversion from the folk material saw a previously hidden energy in the band about halfway through the set, the soulful keyboard work of Steve Hesketh doing wonderful things for the song. Jordie then went solo to perform the beautiful I Could Die Looking At You and recounted tales of being ordered to play some Diesel or Robbie Williams in Townsville – certainly an amusing thought given the folkie’s style. The set finished with a pair of much heavier, blues-fuelled tracks – including the great Dig Straight Through – ending things in exciting style.” The Dwarf – Oct 21st 2009 Live Review, Prince Bandroom, Melbourne – Support for Tex Perkins

Jordie Lane meanders onto stage and kicks into a new song called Down Where The Old Roses Grow. The no-frills Aussie roots muso has just walked to the gig from his nearby Thornbury digs and he’s as relaxed in front of a burgeoning crowd as he would be in his living room in front of an open fire plucking his guitar and swilling down the odd whiskey. Plugging into Sweet Somebody from his first EP, 2006’s Lovers Ride, the delicately framed tune has lost nothing over the years – and that’s Lane’s charm. The fact that he can write a timeless song at the drop of his trademark hat. Poetic in its phrasing, the man can swing a great tale and feels his way through his material – never forcing anything or plugging unnecessary parts in just for effect. Closing out the short warm-up set for Old Crow Medicine Show with his Sleeping Patterns live staples: The Publican’s Daughter, War Rages On and I Could Die Looking At You, this has been yet another shining example of the talent Jordie Lane possesses. ” Faster Louder April 5th 2010 – Support for Old Crow Medicine Show

“Fortunately Jordie Lane had something different in store, beginning with a brooding folk rock lament in When There Once Was A Life To Come. Refreshingly The Publicans Daughter played out as a jaunty narrative, showcasing Lane’s storytelling craft. Lane and his band stay firmly within the genres of folk, country and blues, providing enough variety to maintain a crowd’s attention. He comes across loud, clear and confident, combining well with a band well-assured in their skill. Where Downhills Home bored, Lane impressed, in a set that took the elements we had seen and fused them together for a wholly different result. Lane really has a knack for drawing you in, a truly charismatic performer that has you tuned to his music without fail.” Faster Louder February 28th 2010 – Support for The Weakerthans

“Following was Jordie Lane. If the boys from Joe Neptune’s songs all seemed to sound the same, Jordie Lane was here to show them how it was done. With his band in tow, Lane set out to provide a set full of highlights and wonderful songcrafting as well as superb crowd banter. From Hard Luck Lady (“written during a stage of watching late night television”) to The Publicans Daughter (“A cautionary tale from one touring buddy to another”) Lane’s set was never sterile or waning. His way with words (“I don’t know what’ll become of this, but I’m glad I waited til morn to steal her kiss”) and his presence on stage made his set a pleasure to watch.

Highlights included his two song acoustic moment accompanied by guitarist Matt Green (with I Could Die Looking At You sounding wonderful) and the more rocky song later in the set of Dig Straight Through (About a man who decided “he’d get a shovel and dig his way to the other side of the world”).” Faster Louder, January 25th 2010 – Charlie Parr support

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