Barbara Bergin-- Blood Red Moon   (click on image to watch video)

 24 February 2020

Not every artist is born into the role of singer/songwriter. Some travel a circuitous route before finally hitting their stride and fulfilling their ultimate destiny.

Barbara Bergin is one such individual. She began her professional career as an orthopedic surgeon and then went on to become a public speaker, raise a family and, perhaps in the most unlikely scenario of all attained the status of being a “Year-End Champion Reiner” as certified by the South Texas Reining Horse Association and the Texas Reining Horse Association.

If you’re a bit confused about how that early trajectory led her to where she is now — that is, a proud bearer of a fine first album and an artist that belies the fact that she’s only on the opening stretch of what promises to be a long and prolific career — then you could hardly be blamed. Nevertheless, Bergin takes a down-home tack throughout Blood Red Moon, adhering to a well-trod folk, country and bluegrass template that’s very well suited to her affable vocals and easy, unassuming songs.

That said, there’s some variation in the material, which ranges from the traditional-sounding ballad “She Danced with the Young Prince of Wales” and the Celtic connection of “Three Eggs in my Apron,” to the rowdier bluegrass-based rave-ups “Like Father Like Son/Cluck Ol’ Hen” and “Possum’s in the Corn” and beyond to the spiritual sensibility of “Let’s Get On Up!.” Not surprisingly then, while the twelve-song set is comprised entirely of original material, most of the selections sound like well-trod standards, similar to vintage material that could have been newly adapted to suit Bergin’s initial outing. That’s certainly to her credit, given that the gentle repast of “Blood Red Moon,” “Warm Place” and “Captain of the Robert E. Lee” bear the intimacy of hearth and home, songs meant to be sung around the fire in the company of a small but attentive audience. There’s little here of heavy consequence lyrically (“City living can be alright if you don’t mind traffic, noise and lights,” she croons ever so convincingly on the song “My Life’s Good (Cuz I Don’t Live in the City)”), but both her contentment and commitment are clear and the songs come across as soothing as a soak in the hot tub at the end of a busy day.

Granted, Bergin’s cheery disposition may ring hollow with those prone to cynicism, but it ought to be remembered that there’s value in simplicity and simply slowing down to avoid life’s hectic pace. Consequently, Blood Red Moon possesses all the additives needed to make a positive first impression even at the outset. 

Lee Zimmerman

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