Interview with Belfast Telegraph

Reviews for “People Have Names”

Northern Echo, Sept 6th 2008

THREE years ago, Juliet Turner declared that for her next album she wanted “to be as literate and lyrical as I can, to make sure I enjoy the writing process”. The result of this can be heard on her fourth studio album, People Have Names, which was released recently.

Perhaps eschewing the more egotistical elements of the music business, there are no pictures of the Irish singer and songwriter on the cover of her new album. And anonymity is a minor theme in the album’s lyrics – the brilliant opening song, Invisible To The Eye, details the inner life of a character whose “possibilities lie open to the sky”. As an album opener, it’s classic Turner – matching her fragile, breathy vocals matched with a strong melody and commanding lyrics.

Elsewhere, we get the usual “love as poisoned chalice” song in High Hopes, where questions are posed of romance. The lovers find each other disappointing but persist in an uncertain optimism.

Elder Of The Tribe is less complex, and a beautiful song, based on the life of a man in South Africa who has lived a full life and urges younger friends to “take care of your lovely long life”.

The closing song, People Have Names, was written after a spell in the L’arche community in Northern Ireland, and is a celebratory song of the better aspects of human nature. Turner’s gift for insight into the strangeness of the human condition enables her to write brilliant songs, and this is another excellent album from one of the Western world’s most underrated and gifted songwriters.

Miles Cain

…”What do you do if you have a double platinum album, 3 studio albums, and a Meteor Music award under your belt? Dublin songstress Juliet Turner chose to go back to college, Rivers Cuomos style. Not that she has packed in her passion for making heart-warming music, as she has proved on her anticipated new album “People Have Names”, a slow-burning collection of folk songs that sees Turner return to her strengths, although shedding her more up-tempo moments. Its a voice that would easily seep into the FM sheen of Radio 2 (part Kate Rusby, part Beth Portishead) yet there’s a depth here that also mirrors a growth in Turner’s songwriting, one far too complex for mere Sunday drivers.”

Get three songs: Luisa, Trickster, People Have Names
Dig it? Dig deeper: Kate Rusby “Sleepless”

CLASH MAGAZINE

Q Magazine
Nowhere near as well known as she should be, Juliet Turner’s fifth album “People Have Names” is a very sweet and subtle little thing, with a rueful, melancholy take on life’s and love’s absurdities, pleasing devoid of the preciousness and overplayed mannerisms that afflict so many singer-songwriters.

(Peter Kane Sept 2008 issue)

“People Have Names is a quite lovely laid back album focusing on song writing, some wonderful playing and the instrumentation you wouldn’t normally associate with ‘Irish’ singer songwriter – dobro, banjo, accordion, upright bass, trumpet and horns. A mature work that deserves a wider audience. ” – Peter Whalley, “Get Ready to Rock. Com” Aug 2008

HotPress Music Magazine ****
Irish Maverick is Album of the Year Contender.
Whereas many of her contemporaries have lost momentum, their best work behind them, Juliet Turner’s fourth studio album is an intoxicating example of an adventurous artist moving forward, discovering fresh topics, literate themes and intriguing sounds with which to tease her artistic muse. “Invisible to the Eye” is a striking song with Turner’s voice at its most sublime. The Cohenish “High Hopes” looks at the vicissitudes of love, “Elder of the Tribe” focuses on contrasting generational differences, while the unsettling, country-tinged “Tuesday Night Ladies” – boasting a particularly exquisite vocal from Turner – is a graphic depiction of modern lives lived with no direction home. Despite the slow tempo, “Joy” is uplifting and brash, with a self-confident sweet swagger, but “Trickster” is the real gem, a deceptively catchy tune with the refrain “What do you mean you don’t like shopping? What do you mean you don’t watch TV?”.

Keith Lawless’s production, drizzled with warm strings and splashes of accordian and brass, brings a seductive and uncluttered feel to a bunch of songs that Turner seems to have been tenderly nurturing for a while. “People Have Names” is about as faultless as it gets and is a serious contender for album of the year. (Jackie Hayden)


Fri 20 June: Belfast Telegraph: 4 star review:

“Turner has just made the album of her life”
You’d be hard pushed to find a flaw in Juliet Turner’s musical armoury.
The Omagh-born songstress has usually delivered in both recording studio and stage. She’s a natural at encapsulating a marriage between folk and the singer-songwriter genre. “Season of the Hurricane” from 2004 was an excellent body of work – but since then she’s swapped the studio for the lecture hall and gone back to Trinity College Dublin to do a four-year degree in speech and language therapy.
Fast forward to 2008 and Turner has just made the album of her life.
People Have Names is a quite stunning collection of material – gorgeously presented by simple, sumptuous arrangements that are underpinned by Turner’s delicate vocal chords. The single Trickster is among the many highlights, but the two outstanding tracks are High Hopes and the opener Invisible to the Eye.

Sunday 22 June: Sunday Life – JULIET TURNER – People Have Names (Hear This!): Turner has quietly evolved into one of our best singer/songwriters, and this fourth album, with a rich production and an increasingly sophisticated musical palette, may just be her best yet. Its songs are personal snapshots that reflect on the hard, bitter truths of life and are suffused with an air of sadness and regret that chime perfectly with the melancholy edge to Turner’s voice.

Irish Times four stars. ****.
“Just as Juliet Turner’s palate for life’s sweet and salty moments has evolved, so her palette of sound has rumbled onwards as well, and her appreciation for life’s minor chords has grown. The title track (left to the end of the album, where it can seep into the subconscious) is a thought provoking meditation on life’s defining qualities: “It’s the work of a life time to love and be loved in return, to love to the end”. Lyrically, Turner’s attention turns to the big and small ticket stories; loneliness (Tuesday Night Ladies), romance (High Hopes) and the contradictions of youth and age (The Elder of the Tribe). Arrangements are spacious and unforced, with suitably tinted brass and strings, and Turner’s wisdom in letting her cds percolate for olympian periods is palpable on this gloriously taut collection”. (Sinead Long)

Juliet Turner in “Barrells” with Duke Special

It was case of follow that for Juliet Turner. I called her a rising star but her star has definitely already risen. At the moment she’s in danger of becoming a ‘media darling’ and it’s easy to understand why. Superficially her songs are unthreatening, delivered in a voice that moves effortlessly through the gamut of emotions. Live she has a natural ready wit, she loves the audience and they undoubtedly love her, this was officially designated a ‘love-fest.’ But it would be a sin if she were hijacked by the chino and Brooks Brothers shirt set because the ‘danger’ factor in Juliet Turner’s music lies just beneath the surface and, when it erupts, it’s a force to be reckoned with.

She was joined by Brian Grace and Shaun McGee, Grace played on her previous visit but the addition of McGee on bass gave a fuller sound, she has moved from singer to leader of the band. And in the company of Grace and McGee she formed a Peter, Paul and Mary for a world that has lost its virginity. Instead of Puff The Magic Dragon Turner gave us Rough Lion’s Tongue the tale of a heroin addict doing street gymnastics to earn the money for a fix. Leavin On A Jet Plane became Belfast Central; both about moving on, but the former rose-tinted, the latter honest and brutal. Even her breakthrough song Everything Beautiful Is Burning was removed from the ‘radio friendly playlist’ and stripped bare. It became the song of destruction its title suggests. With Grace by her side she threw out the song’s bathwater but kept the baby safe and sound. It was a chilling and ultimately sad moment as she allowed a peek inside the mind of the song.

Juliet Turner is an accomplished performer and she gently guided the audience through the natural highs and lows of a gig. She let the air out of the emotional highs only to inflate them again when the time was right. The audience went with her willingly. It is unlikely but it would be shame if Juliet Turner ended up in some ‘middle of the road hell’ because with songs like “Queen On Canal Street” and “The Signal and the Noise” she articulates an unyielding and burning conscience. She is one of a rare breed of musician that actually believes in something. However she knows how to sugar the pill and the love song “Pizza And Wine” is surely the national anthem for every stumbling, bumbling one of us that has suffered the agonies of first love.

Juliet Turner is a born entertainer; you only needed to hear the packed audience’s reaction to her at Barrels to know that. Along with that she is passionate, committed, intelligent and articulate. She has the power to speak for people who have no voice. And, what’s more, make people listen. Whether they hear or not is up to them.

Michael Mee
Maverick Magazine, 2008

Greenbelt 2005

Perhaps the best pick of the weekend was the celebrated Irish singer songwriter Juliet Turner whose late-night, Sunday evening set on the Centaur stage drew a large audience, with due reason. She is a stunning songwriter with a powerful voice, an impressively diverse array of material and a talented band providing guitar and piano backing. 5/5

Stephen Lambe 2005

August 14 2005 :

THE SPIRIT STORE, DUNDALK

It’s the first of three nights recording a live album and the jitters are showing. Fluffed intros, retakes, polite requests for audience interaction, natural banter. Throughout it all, Irish singer song-writer Juliet Turner is poised and in control. She might give the impression she is a bag of nerves ready to crumble but ultimately she’s as steady as a rock. Turner is – always has been, in this writers opinion – one of the most intriguing of Irish female song writers and totally unlike the usual fey, sensitive types that balance aspiration with little talent. She arrived several years ago with a guitar and a batch of brittle, poignant songs; her broad accent and even broader outlook, her bitter-sweet tastes marked her as one to watch. She has been very successful both here and in the UK but her acerbic, spiky nature (which informs her best songs) is in danger of being undermined by a perceived lack of credibility. This is unfair, of course, but it does indicate a potentially damaging imbalance of perspective (and precisely how do you inhibit or limit that?) and her positioning between the likes of Gemma Hayes and Cathy Davies (young, edgy)and Eleanor MvEvoy and the Corrs (mature, settled, comfy). Certainly Turner could fall either way, but some of the songs she sings and the way that she sings them (notably on a new song, “The Girl with the Smile” and older material that includes “Falling”, “1987” and “Vampire” – the latter one of the most under-rated and best songs in Turner’s portfolio) indicates that she just might be ready to claw back some of the very fine values that made her such a compelling performer from the beginning. There were more than glimpses of that on display on Thursday night. The live CD might be an industry staple of breathing space for the artiste to come up with even more goods, but Turner for one still seems to be formulating a cunning plan for a creative reinvention of some kind. Underestimate her at your cost.

By Tony Clayton-Lea, The Irish Times

Evening Herald
1.12.05

Juliet Turner Live (Hear This! Records)

Recorded over three nights at the Spirit Store, Dundalk last August, Juliet Turner’s new Live CD is a remarkable achievement.
Every word comes through crystal clear, as does every note played by each member of her six piece backing band.
On her three studio recordings, Turner can come across as a little too fey and winsome, too self-consciously quirky.
In front of an audience though she is a formidable performer: quietly reflective pieces like Pizza and Wine from her 1996 debut album and the folk song Sweet Bride, just recently learned from English singer Kate Rusby are just as strong in their own way as the more recently composed powerhouses The Signal and the Noise and Rough Lions Tongue. The rapturous applause bracketing each track says it all.

Sarah McQuade.

Netrhythms.co.uk
Juliet Turner Live (Hear This! Records)

Had the announcer taken the time to announce all the attributes and qualities of Juliet Turner this could quite easily have been a double release. There is no doubt that if she wished she could write and sing the kind of overly commercial song that would guarantee her fame and fortune. However you get the feeling this would be anathema for her to do so.
This is not a criticism of the CD, more a fact of life, but as good as this recording is, it struggles to fully capture the effect that Juliet Turner has on an audience. In old money, she has stage presence.
Wrapped up in her sweet, bottomless voice is a no-nonsense performer whose lyrics sometimes have the effect of a dart dippped in Curare. Live may well demonstrate that she is able to capture just about every emotion but it also shows she possesses a steely strength.
Recorded at the Spirit Store in Dundalk, this album may not encompass the whole Juliet Turner experience, but it is the next best thing and provides an ideal stage for a folk artist who redefines and expands the word “folk”. Beginning with the slightly acerbic The Signal and the Noise she moves onto the haunting Vampire, a song with a timeless quality which explores some dark recesses. The song could just as well have come from the 19th as the 21st century.
Perhaps it’s these two songs which encapsulate neatly the beguiling contradictions which elevate Juliet Turner’s music to the realms of the truly original. In two tracks she pays due respect to the traditions of the folk music of her native Ireland and yet she delights in debunking its idiosyncracies.
Whilst enjoying and making the most of the full band at her disposal, she doesn’t allow it to turn her into some mid-Atlantic, pseudo-poetess full of inexplicable irony. There is a sweet, almost na?Øve charm to the clarity of love songs such as The Girl with the Smile and Pizza and Wine, the lyrics tumble out almost at will.
But while Juliet Turner holds the audience in her thrall, Live isn’t an album of hushed reverence. Dr Fell is full of energy whilst no Juliet Turner gig would be complete, or, I suspect, allowed to finish without Take the Money and Run.
But the real spirit of Juliet Turner lies in the wild, rugged epic, Rough Lions Tongue, beneath the demure exterior beats the heart of a passionate musician.
Where Live does score over a studio recording is that it shows the phenomenon of Juliet Turner, as it happened, nothing added, nothing subtracted.

From Music.OMH.com
(2004)

It’s fair to say there’s a bit of a buzz about Juliet Turner at the moment. Hailing from Northern Ireland, she’s picked up several “Best Newcomer” awards recently and is already onto her third album. Although she’s virtually unknown outside of Ireland, Season Of The Hurricane comes with the approval of the unlikely powerful figure of Terry Wogan – the man who made Katie Melua a household name almost single-handedly.

It would be a grave disservice to Turner though if she was to be bracketed in the same easy listening category as Melua. Season Of The Hurricane is full of intriguing songs coloured by some brilliantly imaginatively lyrics – it’s hard to imagine Melua coming out with something so daring and attention grabbing as the opening track on here for example.

That particular song, The Greatest Show On Earth, is simply wonderful. Like a less paranoid Portishead, the melody is creepily atmospheric with some nice little electronic effects in the background. Turner’s memorable lyrics add to the beguiling mood (“I need a man who’s gonna stick around / Not somebody who will leave me through a trapdoor”) and her voice, while maybe not being the strongest of instruments, perfectly suits the material here.

With such a strong opening track, the rest of the album initially fails to match up, but repeated listening brings its own rewards. Turner has been compared to Alanis Morrisette, but to these ears Beth Orton is a more worthy comparison. She shares with Orton the ability to conjure up images with one phrase – the chorus of Business As Usual being a prime example (“I’m standing next to Lady Liberty / She brings an unexpected tear”).

If there’s a fault here, it’s that her rough edges have been too smoothed down by the production here. A song such as Vampire has some superb, and remarkably explicit, lyrics about sexual guilt (“She pulls him so deep inside that he’s afraid he’ll divide her”) – yet the mixing of the song makes it sound like one of Dido’s cast-offs. Maybe the people who surround Turner are anxious that she receives the success she deserves, but her compatriot Gemma Hayes managed to produce the successful and spiky Night On My Side a couple of years ago.

Yet there are enough positives here to render that criticism a minor one. Turner’s voice retains her Northern Irish accent throughout, which makes the material refreshingly different, whether it be skipping through Everything Beautiful Is Burning or a rootsy rendition of Lee Hazelwood’s Sugartown. Also, the stark No Good In This Goodbye is amongst the most beautiful songs you’ll hear all year.

There’s certainly enough potential here to suggest that Juliet Turner will produce a truly excellent album soon enough. Season Of The Hurricane isn’t that record, but it will more than be enough for now. Turner is definitely a real talent – maybe Wogan should move into A & R.

By John Murphy

Juliet Turner – Season Of The Hurricane
Hear This! Records – 2004 – 52 minutes

Juliet Turner is, perhaps, an acquired taste. While catchy numbers like ‘Everything Beautiful Is Burning’ exemplify a depth and extraordinary talent that drag her into the mainstream, there are so many other tracks that simply perplex, pushing her back onto the fringes of the music scene. Lyrically, Turner often wanders into a fantasy world that pushes the attraction of the unique to its limits. But just as effortlessly there is a contrasting element that redeems this. ‘Everything Beautiful Is Burning’ is a rare gem and, while the rest of the album doesn’t quite measure up, tracks like ‘Business As Usual’ will drag you in. There can be little dispute that Turner’s integration of natural accent and tones is remarkable. And while her content refines her market, it also sets her very much apart from other artists – never a bad thing.

By Linda McGee (RTE Entertainment)

June 10 2004 :

SCOTTISH SUNDAY HERALD – A TURNER MASTERPIECE (5 STARS)

Although Juliet Turner’s music might broadly be described as folk – pop and although she’s Irish, thankfully this doesn’t have to mean a one way ticket to blandness. There’s a pleasing asperity and knowing toughness underpinning the stylistic and expressive variety of Turner’s singing, aligned with a reluctance to settle into any one familiar groove. Grooves there are a-plenty, however, sprinkled throughout her third album, sharpening the edge of the moody love-hate number, “See another side” or adding an extra teasing kick to the seductive langour of “Vampire”. In other tracks, Turner’s confidently cosmopolitan arrangements reference everything from reggae (The Greatest Show on Earth) to vintage jazz (Sugartown), elsewhere invoking the cool, sassy incisiveness of East Coast songwriters such as Suzanne Vega and Dar Williams. As her Radio Two popularity suggests there are anodyne moments here, not least in the Terry Wogan fave “Everything Beautiful is Burning” but the fluidity and mercurial boldness of her vocals (captured best in the track “1987” with it’s choppy period riffs) more than compensates, variously recalling Edie Brickell, The Cocteau Twins, 10 000 Maniacs era, Natalie merchant and even Bjork.

By Susan Wilson

May 26 2004 :

VICAR STREET, DUBLIN

Juliet Turner cuts a striking figure as she scrapes her auburn hair to one side and looks down from the Vicar Street stage. Toweringly tall, at times she seems almost awkward, her movements exaggerated even when swaying ever so slowly to the sound of her backing band. But there is absolutely nothing awkward about the way she commands the stage tonight and from the opening “Everything Beautiful is Burning” she is utterly assured and confident, leading the audience through a set of songs that function as little snapshots of her life. Her stage presence is the type that smoulders, drawing you in and making you sit forward in your seat rather than dazzling and knocking you back on your heels. It’s a no bullshit, girl-next-door type of allure that is mirrored in her music and has lead to her getting lauded from everyone from Terry Wogan to Niall Stokes. And then of course, there’s that voice. Shy yet sultry, strong but fragile, often in the same song. The music ranges from the breezy audience sing-along vibe of “Take the Money and Run” to the eerie atmospherics that accompany “Vampire”. Mainly playing material from her new album, her backing band (including occasional string players) are excellent and if attention does tend to wander during the two hour set, it is not for long. The inbetween song banter, spoken in an accent that would sound sexy reading the yellow pages, ranges from the Iraq war to having Elvis as a guardian angel, from the pros and cons of a one night stand to the story behind her first awkward snog at the Christmas disco – the inspiration behind “1987”, one of the highlights of the set. And by the time she reminds us of the her folk beginnings by taking to the stage with just her guitar for company at the encore, it’s impossible not to have been thoroughly charmed.

By Maurice O’Brien, Hotpress Magazine

Juliet Turns Heads on Moon River

Juliet Turner is an enchantress. Her voice weaves a spell, her presence demands attention and the fact that both nights on the boat were complete sell-outs is no surprise. When Turner emerged to take stage, the day had slipped into the inky black rushes, the water was quiet and a single patch of light over Drumharlow was a sure sign that autumn has arrived. Turner is a girl who takes no prisoners. Her clear, distinct voice is commanding, powerful and all at once heartbreaking.

The great stories between songs and lively interaction with the crowd were perfect for the boat, where that gap between performer and audience needs to be closed in such an intimate space.

Solid guitar playing from both Juliet and guitarist Brian Grace, and exquisite harmonies echoed through ‘One night’, the first kiss of ‘1987’, ‘Burn the Black Suit’, ‘Greatest Show on Earth’, ‘Dr. Fell’, ‘Rough Lion’s Tongue’, the emotional ‘Pizza & Wine’, the stunning ‘Where do you go when I sleep?’ and ‘Take the Money and Run’ had the boat split into accompanying harmony as we sailed into the night in comfortable ambience. This Juliet Turner gig, like the title of her new album suggests, was a hurricane – both magnificent and memorable.

By Susan Ryan from www.scene.ie

May 26 2004 :

THE LIFE CAFE’S THE LATE ROOM, MANCHESTER

From the first awkward fumbles at a school disco, via losing your heart to an older man and learning to love without running away, to having a quickie in an LA motel, Juliet Turner knows about love.The Irish songstress’ tunes were laced with a sensuality which ranged from the purity of “1987” (It was the first time that you kissed me/ just before the school bell rang) to the raw power of “Rough Lion’s Tongue” (Lick the salt from my face/ with your rough Lion’s tongue).The frankly gorgeous Turner brought the intimacy of her darkest thoughts to the floor of the Manchester club as she spoke in illuminating vignettes between numbers.Though sex, lust and love are central to Turner’s writing, they are not her sole concerns. She also touches on a world gone mad in “The Signal and the Noise” and pays a beautiful tribute to Manchester’s own gay village in “Queen on Canal Street” (dream a dream by the old canal/of a place without shame/new Jerusalem).Juliet Turner’s music is vibrant, personal and deeply moving. She is already well-known in Ireland and is developing a cult following in the UK. The Late Room gig was like following a girl’s journey into womanhood, a wonderful, thrilling ride of innocent pleasure and carnal delight.Her final number, after rowdy demands for an encore, was the simply magnificent “Belfast Central”. (It seems to me things have come full circle/and I won’t be here again). Let’s hope this, the last line of the night, won’t be true and she’ll be back in the city soon.

By Smyth Harper, BBC Manchester Website, 22/4/04

February 17 2004 :

CELTIC CONNECTIONS REVIEW

Of all the shows I was asked to review during Celtic Connections, this was the show I was most looking forward to because Juliet Turner was the artist I knew the least about. Aside from tracks Wogan plays a lot, I hadn’t heard her but after a musician friend shared his enthusiasm last month, I was intrigued. I wasn’t disappointed. Turner is a self-conscious artist of broad vision, her set tonight laced with references to subjects as disparate as Michael Moore, Anna Rice, Vampires, contemplation of Michaelangelo’s David, fear of insanity and sexual repression brought on by the Church. All this sounds uncomfortably close to some sort of new-age, hippy-chick nonsense but as a mature, balanced and singular artist, she doesn’t go in any fey or spooky direction. Her physical presenceis the first annunciation of that – tall, sexy, stooping slightly at the mic (reminiscent of those great 1965 photos of Dylan), Turner has an androgynous, almost feral otherness. So obviously, you are going to listen, as tonight’s capacity audience did. Secondly, Turner’s vocal style is beguiling, then winning. There’s no attempt to hide a strong, urban, Northern Irish accent – her delivery isn’t even mid-Irish sea, never mind mid-Atlantic. Accompanied tonight by the guitarist and bass player from her regular band, she had the freedom to fly vocally. Song introductions were often lengthy but always thoughtful, helpfully illustrative of the thought processes behind the songs.Turner’s UK profile will be boosted when her third album “Season of the Hurricane” is released here. It includes, “The Signal and the Noise”, where the artist considers how best to interpret world affairs, “Business as Usual” examining the role of creation and artistic beauty and best of all “Vampire”, which featured a vertiginous key change in and out of it’s bridge, its pretty melody sardonically at odds with the lyrical matter.

By Stuart Ferguson

September 17 2003 :

JULIET TURNER/Barrels Alehouse, Berwick
Sunday, August 18 2004

SOMETIMES you’re unlucky with an artist you know little about and sometimes you hit the mother lode. All I knew about Irish singer-songwriter Juliet Turner was that Terry Wogan liked her. After her performance, accompanied by guitarist Brian Grace, I also knew that although the Barrels stage had seen many great female singers over the years it may just be that we witnessed the best of them on Sunday.

Without any weight of expectation Juliet Turner charmed, laughed and ultimately played her way into the very fabric of the walls of Barrels. Instantly she captured the hearts and minds of everyone. The ‘heart’ was aided by the fact that she is good-looking, tall, immensely charming and engagingly frank. The ‘minds’ were won by the intelligence of her writing and the beauty of her playing. A night in the company of Juliet Turner and Brian Grace who was affectionatley referred to as ‘the band’ is just that, we could easily have been in her front room having a get-together so completely were we drawn in to their world.

Right from the opening song, Dr Fell it was her naturalness and openness that hit home. She sang as she spoke, completely free of affectation or ‘showbiz’.

As she played Sorry To Say, an incisive piece of writing connecting the peace process in her native land and her father’s illness, I got the feeling that by the end of the night I was going to know more about her life than I did my own, so it proved. Alongside the lilting voice and great good humour Turner revealed herself to be a sharp-eyed and astute observer. Indeed in the introduction to One Night she claimed her songs were written entirely from observation. Somehow I doubt it, Vampire for one was surely born of experience.

Whether it was the heat or the constant bombardment of images, ideas and emotions the mellowing moments of Everything Beautiful Is Burning and Sugartown were much appreciated, however that was just a lull. Turner may be young, she may look at life through a young lady’s eyes, indeed that is one of her many strengths, but Narcissi and Burn The Black Suit showed that she can bare her lyrical teeth when the moment requires.

They always say leave them wanting more, had Juliet Turner and Brian Grace played all night it would not have been enough. But come to an end it did and Belfast Central was the perfect way to sign off. On stage alone, Juliet Turner closed one chapter of her life and opened up the next, it may still be unknown but success and recognition are sure to play their part.

She was tongue in cheek when she said that this was ‘her gig’ but she was right, the night belonged to Juliet Turner. Let’s hope it’s not the last time we are graced with her presence.

The INDEPENDENT 2002

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