Who are Cash & Carter?

Cash & Carter, a breakout duo from the UK, consists of Birmingham musician Shaun Smith, better known as Stealth, and London producer, singer, and writer Ross O’Reilly. Cash & Carter was started as side project amongst the two, and the name was chosen to pay respects to country royalty. The debut EP, titled  No Use Praying, comes after the duo’s initial success with the single Americana, earning them a spot on the US New Music Friday Country Playlist on Spotify.

Let’s be clear, I wasn’t familiar with these two gentlemen before stumbling upon a new country duo named “Cash & Carter.” Intrigued, I did a little digging into their background and accolades before fully embracing the bold statements surrounding them. Much to my surprise, I had actually heard a collaboration by this duo before the formation of “Cash & Carter.” The song Judgement Day, penned by this pair and performed by Stealth, played during one of the most climactic scenes in television history—specifically, as attorney Mike Ross faces the consequences of his fraudulent actions in the TV show Suits on USA Network. Okay, boys, you’ve got my attention. If you’re okay by Harvey Specter, you’re alright by me.

British Americana

Now, we could roll around in the weeds all day discussing what qualifies as “Country” music. Is this truly a country album? Well, not exactly. However, from a lyrical standpoint, the No Use Praying EP is unapologetically country music. Track 4 the Ballad of Talulah is a somewhat brash, but endearing anthem of a literal prostitute. It don’t get no more backwoods than that boys. The writing on the EP is truly its strongpoint, bold, fearless, and cleverly exuding emotion.

Cash & Carter cite their inspiration for the EP as The Eagles, Creedence Clearwater Revival, Crosby, Stills & Nash, as well as contemporary artists like Chris Stapleton and Alabama Shakes. While I can detect traces of Alabama Shakes in the project, personally, I view this EP much more of an Americana album. That’s right, a British Americana album. It’s a diverse mix of genres, tastefully blending pop music with modern roots music, creating arrangements reminiscent of a fusion between Hozier and Noah Kahan. Labeling this album proves challenging, but regardless of its genre, it stands out as beautifully and brilliantly arranged and produced. The result is a highly personal and vibrant atmosphere that is distinctly Cash & Carter.

No Use Praying EP

The 5-track EP kicks off with  No Use Praying. The song makes a bold statement and is skillfully arranged to drive its point home. Essentially, No Use Praying serves as a “Do It Yourself” anthem, urging listeners to get their shit together and take charge of their life. Beyond the surface, the song is filled with spite driven religious analogies, proclaiming phrases like “nobody’s gonna part that water for you” or “no one in the sky to blame, so there ain’t no use in praying.” The song is brilliantly arranged as a church hymnal, ironically pairing the lyrics “ain’t no use in praying” against the beautiful harmonies of a gospel choir. The EP is befittingly named as No Use Praying sets a standard as of the records strongest tracks.

Americana (Letting Her Go) is a subtle and sweet tribute to a friend lost to suicide. The song details the struggle of remembrance vs. letting go and moving on. The melody on this tune is superb, its soft and sincere, yet the guitar work is very demanding and driven giving a sense of urgency and loss.

All of the Way is somewhat more lyrically ambiguous compared to its predecessors. Cash & Carter express their commitment to “be there all of the way,” leaving room for interpretation—perhaps in solidarity with a lover, friend, or even a family member. Regardless, the tune is a straightforward, feel-good song, as if one is simply walking along and keeping rhythm with the prominent percussion line.

The Ballad of Talulah stands out as my personal favorite on the EP, destined for heavy rotation. It’s undeniably the most country-influenced track on the record, both in terms of lyrics and musical style. The song is the first to be driven by an acoustic guitar, followed by a kick drum that picks up the pace, creating a distinctive “singer-songwriter” vibe. As mentioned earlier, lyrically, this song is among the most interesting and clever on the album. The song details the whimsical, empowering, yet tragic lifestyle and experiences of a professional call-girl: “They all want to save me, right until they pay me, then it’s home to their wives.”

Cash & Carter conclude the EP with a modern and dramatic interpretation of The Cure’s  Just Like Heaven. The cover is exceptionally well-executed, showcasing their ability to achieve what many overlook when covering songs. Cash & Carter have completely transformed it into something unique, successfully adding their own spin and altering both the mood and interpretation. It serves as a fitting end to a flawless debut.

Final Thoughts

Cash & Carter set a new song crafting standard for 2024

Cash & Carter’s EP, No Use Praying, has genuinely caught me off guard with its unexpected quality and uniqueness. As my first official taste, they have not disappointed.  The duo has showcased that their songwriting skills are on another level. No Use Praying, the title track is the perfect example. The song is ironically, yet purposely arranged with a choir of gospel harmonies denouncing the heavens in lieu of self help. Each song on this EP presents thought-provoking lyrics matched by top-notch production. Cash and Carter have created a unique and distinct sound unlike anything else in the game.

 Favorite Tracks: The Ballad of Talaluh, No Use Praying