On the 3rd December, Frank Turner graced the Alexandra Palace with his acoustic set compiled of songs from his latest studio album: 'No Man's Land'.
'No Man's Land' differs from Turner's other music for various reasons, not only does it adopt a more sympathetic tone, but it is dedicated to the stories and legends of significant yet forgotten women in history. The album is made up of 13 songs, that's 13 women whose stories had been completely overlooked by the history books, until now. This does indeed beg the question however, is it fair that these women should only receive recognition from a white, male's album?
One of the standout songs from this album is 'Sister Rosetta', which illustrates the story of the 'original soul sister' and the woman who is referred to as 'the godmother of rock and roll'. According to his song, Sister Rosetta influenced the likes of rock and roll legends such as Elvis Presley and Johnny Cash, yet until hearing this song, her name would have been indifferent to me. It must be noted therefore, the incredible influence that modern music can have on modern day problems such as equality. Turner's album in this sense, serves to finally uncover the stories of these individuals and raise awareness of them, whilst forcing his audience to question themselves: why have we only heard about these women now?
Despite its attempt to commend these women, Turner's album has faced criticism from many, who claim that it is an example of 'mansplaining'. It must be argued that whilst the tales of these women are beautifully recorded, they are ultimately dominated by Turner's own, male voice. Is it fair that a white, male artist can use the narratives of these overlooked female voices to further his own career and reap the profits? Nevertheless, Turner himself states that "if there was a crowded field of people writing songs about Princess Kassiani then I would see the argument for me bowing out, but there isn’t”. Turner makes a valid point.
Ultimately, there are no other artists who seem willing to jump on the bandwagon of acknowledging forgotten women. The album itself is supported by an all-female choir and is produced by Catherine Marks. It seems Turner has taken all measures necessary to assure that his album is indeed a sympathetic and sensitive one. Undeniably, he tells their stories with a caring tone and an ability to ignite curiosity within his audience, urging them to find out more themselves. Clearly, lots of time was invested into careful research of each individual woman and in doing so, served to give justice to their lives, something that is tastefully demonstrated by each track.
Overall, whilst there is no denying that Turner's male voice does undermine the concept of reversing the silencing of the female voice, the album is sung and presented in a beautiful light. Turner has successfully shone a torch on the stories of unique yet immensely important females who, without his album, may have had their tales left in the dark eternally.
By Zoe Wreford, Radnor House School
