As time has gone on and his reach has ballooned to immeasurable degrees, it can be wholeheartedly said that Jamie Webster’s presence in modern music is a force for good. Even to the extent where some past criticisms about ‘broadness’ in his message and social commentary can feel a little misdirected in hindsight. More so than your average singer-songwriter, his is the working-class hero persona that gives populism of that exact stripe to work. He’s not some savvy, trained popstar groomed in the image of the everyman; he’s an electrician whose words and candour resonated, subsequently blowing up through distinctly grassroots means.
Contrary to what some might extol, politics isn’t a zero-sum game; there is worth in playing to those who might not have the means to articulate their exact thoughts and frustrations, but still want to engage. Webster’s entire artistic oeuvre has been dependent on sidestepping any limitations associated with that, embracing a state of ultra-populism that, pleasantly, he’s only gotten better at. The cheat codes of unflappable, down-to-earth humanity and his unsullied Scouse accent have kept him far away from the grinding cogs of industry machinations. Thus, in Webster’s world, playing to the cheap seats has not only paid off handsomely, but it’s something he was built for success at.
Thus, it doesn’t really make sense to move past that. 10 For The People (despite being, in fact, 11 tracks long) wears its intent plainly, where Webster remains rooted amongst the plights and lifestyles of the everyman, avoiding being swayed by the bright lights of success. At the end of the day, it’s what this sort of rousing, salt-of-the-earth folk music plays best to, amplified by a knack for vignettes of normal people. Fickle Fran views a state of austerity through a bootleg salesman trying to make end’s meet; elsewhere, Lovers In The Supermarket traces an elderly couple’s shopping trip where the love in their lives has been kept alive, in spite of circumstances around them.
All of these stories are told through Webster’s eyes, never implanting himself in the scenario as a means of amplifying the universality of it all. He’s very clearly set on a man-of-the-people front that a lack of airs and graces does sell. What’s more, though, he’s not the kind of societal commentator for whom ‘criticism’ comes at its most anodyne. There’s a non-uncertain political slant on Something To Eat and How Do You Sleep At Night, both to proudly display the rough edges yet to be shorn off by the industry, but also putting his money where his mouth is. It’s an oft-annoying trait of artists in a mainstream space who do want to say something, but never crossing a bipartisan line in fear of sounding too alienating. If anything, 10 For The People shows how you can do both at once. The intentions for social mobility and quality of life are laid out plainly (the hook of opener Better Day literally contains the line “I stand up for the people / ‘Cos everybody’s equal”), with the aforementioned populism doing a lot of heavy lifting in a communal spirit that’s hard for anyone to deny, regardless of alignment.
It also helps that none of this is even close to being radical in ideology, which is entirely Webster’s point. Being reflective of average people ensures of that, and while those deeper in political spheres might find it a bit surface-level, again, there’s worth in having bravado and confidence like this to inspire activity on the widest plain. Webster sings with passion anyway, and Better Day and Voice Of The Voiceless sport their messages of empathy in a way that makes mobilising change feel achievable for your normal person. There’s also just an inherent positivity present in Lovers In The Supermarket and Looking Good, where the simple, optimistic nature of Webster as a songwriter is its brassiest.
There’s an element of ‘give the people what they want’ in that that’s entirely conducive with literally every artistic decision that Webster has made, even if 10 For The People isn’t the most electrifying on its own merits because of it. It’s admittedly hard to do that anyway with indie and singer-songwriter music this entrenched in its lane, though any efforts aren’t as pushed as they could be. Billy Bragg is such a natural forebear to Webster that having him exclaim some interlude lines on Fickle Fran is a phenomenal waste, and while the inclusion of R&B riser Brooke Combe on Better Day is eyebrow-raising, having her there for harmonies on the chorus feels about the expected outcome. There’s also the song Dolly Bird in which a tasteful, Elbow-esque slow burn is sewn to a horn-laden Britpop jangle without much tact in the transition. This is not some ‘progressive’ moment instrumentally, as much as a weird mishmash that’s actually more incongruous than it might appear on paper.
In general, though, 10 For The People sounds likable enough, in the vein that Webster is clearly after. There’s warmth in the production, akin to ‘90s indie music and soloist fare, while also the occasional splash of horns and strings for the Beatles callbacks that, by law, every Liverpool musician is required to have. And while there’s nothing that develops the same quaking atmosphere as a song like Davey Kane did, branching out to an almost island-inspired melody on Better Day or a proto-Sam Fender turn on The Boy (Chapter 1) stand as highlights all the same. But mainly, Webster’s own approachability will stand head-and-shoulders above everything else, as the obvious reason you’d elect to listen to his music over anyone similar’s. He mightn’t be too different, but it’s distinct enough to where there’ll be a defined payoff he can bring.
It’s also the culmination of an underdog story that people that just love to root for, even more so when it succeeds. With Webster, few artists in recent memory have amassed public good will of that magnitude, of a well-loved local legend translating to a national scale. The reach is just that wide, and 10 For The People is another great example of why that is. For some, especially those who can resonate with the stories being told and the emotions being relayed, there’s a very real chance that this could stir something enormous when pushed on the stage that it is. For everyone else as just a casual listener, or who engages with political music more frequently…it won’t cut as deeply, but the culmination of factors leading to something like this isn’t lost either. At this point, Jamie Webster is the people’s champ, and that’s hard to complain about too much.
For fans of: Gerry Cinnamon, Liam Gallagher, Billy Bragg
‘10 For The People’ by Jamie Webster is released on 2nd February on Modern Sky Records.
Words by Luke Nuttall
