Review By Halina Wegner
Live albums often walk a tightrope. Too polished, and they lose the grit and energy of the stage; too raw, and they can feel unbalanced or unfinished. With Sunshine, Bywater Call have struck that rarest of balances—an album that brims with energy, spontaneity, and emotion while still being meticulously crafted and expertly delivered. Recorded across shows in Toronto, Woodstock (New York), and Newbury (UK), this record feels like a snapshot of the band’s very soul, a reminder of why live music matters and why Bywater Call have become such a force on the international blues, soul, and Americana scene.
At its heart, Sunshine is a celebration of the stage. It’s the band’s first live release, and it draws from every corner of their catalogue: the debut self-titled record from 2019, their acclaimed Shepherd album from 2024, and even a taste of something new with the funky original title track, “Sunshine,” first teased as a single back in May. To round things out, the group take a brave swing at Stephen Stills’ classic Love The One You’re With, and the result is a reimagining that pays homage while still sounding distinctly Bywater Call.
The album kicks off with “Sunshine,” a buoyant, groove-driven cut that immediately sets the tone. It’s funky, radiant, and joyous, built on an infectious rhythm section laid down by Mike Meusel (bass) and Bruce McCarthy (drums). Meghan Parnell’s voice—gritty yet graceful—soars above the band with conviction, while Dave Barnes’ slide guitar lines carve out a sound that is equal parts blues grit and southern soul. It feels like a mission statement: Bywater Call want you to feel good, and they aren’t afraid to stretch the boundaries of genre to make it happen.
“Bring Me Down,” reaching back to their debut, is transformed in the live setting. The track stretches out to almost ten minutes, showcasing the band’s improvisational spirit. What was once a tight, radio-ready cut becomes an expansive journey. Barnes’ guitar soloing borders on incendiary, while the horn section—Julian Nalli on sax and Stephen Dyte on trumpet—adds depth and dynamism, weaving melodies that push and pull against Parnell’s raw vocal delivery. This is a song reborn, elevated by the freedom of the stage.
“As If,” a fan favourite from Shepherd, highlights the group’s ability to balance restraint with fire. The introduction is moody and atmospheric, with John Kervin’s keys leading the way, before the band erupts into a groove that feels equal parts Muscle Shoals and Fillmore East. It’s soulful, expansive, and perfectly demonstrates how Bywater Call build tension and release in their live show.
The centrepiece of the record is undoubtedly Love The One You’re With. Clocking in at just over ten minutes, this cover avoids being a carbon copy. Instead, Bywater Call filter the song through their own lens—horns blazing, vocals roaring, and guitar lines twisting into unexpected spaces. It becomes both familiar and new, a communal anthem reshaped into something uniquely theirs. It’s a risk to cover such a beloved classic, but the payoff is enormous. This is the kind of performance that converts casual listeners into lifelong fans.
“Sign of Peace” follows, and its message resonates as powerfully live as it does on record. Parnell’s delivery here is equal parts plea and declaration, full of nuance and fire. The interplay between sax and trumpet gives the song a gospel-soul depth that elevates it far beyond a standard blues cut. It’s in moments like this that the band’s chemistry shines—each player listening, reacting, and feeding off one another in real time.
Closing track “Everybody Knows” is sprawling and cinematic, clocking in at eight minutes but never once feeling overstretched. The haunting introduction, the rising tension, the cathartic release—all hallmarks of a band who understand dynamics on a level that few achieve. It’s the perfect curtain-call, leaving the listener not just satisfied but hungry to experience it all in person.
One of the most striking aspects of Sunshine is the musicianship. Every player brings their own personality to the table, yet the cohesion is undeniable. Barnes’ slide guitar tone is searing and soulful, Meusel’s bass grooves lock everything down, and McCarthy’s drumming balances power with precision—no surprise given that he also captured and mixed the album himself. Add in Kervin’s atmospheric keys and the powerhouse horn section, and you have a band that feels larger than life.
But the soul of Bywater Call is Meghan Parnell. Her voice is not just a vehicle for melody—it’s an instrument of raw emotion. She can be tender one moment and explosive the next, and her ability to command a room is evident even through the speakers. Whether she’s belting out a revenge-tinged anthem or delivering a hushed, soulful line, Parnell holds the listener in the palm of her hand.
What sets Sunshine apart from many live albums is the mix. Captured and mixed by Bruce McCarthy and mastered by Kristian Montano, the sound is warm and full without sacrificing the grit and spontaneity of a live show. You can almost hear the sweat, the crowd, and the unspoken connection between band and audience. Extended jams and fiery solos never feel self-indulgent—they’re purposeful, carrying the songs to new emotional heights.
Bywater Call have always been a band built for the stage, and Sunshine is the proof. It’s not just a collection of songs—it’s a document of what happens when a band throws everything they have into a performance. For long-time fans, it’s a chance to relive the fire of a Bywater Call gig. For newcomers, it’s the perfect entry point, a record that showcases not just the songs, but the heart, sweat, and sheer joy of this extraordinary band.
With Sunshine, Bywater Call haven’t just released a live album. They’ve released a statement: this is who we are, this is what we do, and this is why live music matters.
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