Gig Review: Jerry Leger - Kitchen Garden, Kings Heath, Birmingham. Wednesday 16th April 2025

www.jerryleger.com

You can never underestimate the importance of artists like Jerry Leger to music's ecosystem. Without them the environment would be reshaped with inferior consequences. They inject quality and stability to substantiate the base, progressing the dial with songwriting acumen. A resourceful demeanour and positive outlook helps them shape the grassroots where to rest on your laurels can deal a fatal blow. Handouts are few and every dime is well earned. A key component is a return on investment from every single engagement. In exchange, routes can be plotted and original music prospers.

Jerry Leger has been sufficiently resourceful to sustain a long career and fortunate to travel overseas from his Toronto base. He is able to call on recording support from some of the best in the business and his music regularly finds its way to favourable ears on both sides of the Atlantic. There are no doubt many highs and lows. Maybe the key is to gain strength from moments sent to test. Preserving high standards counts for a lot. The Kitchen Garden had the privilege of a gilt-edged singer-songwriter passing through its doors on a quiet Wednesday night. A venue lit up by a performance re-affirming the progression of minted original music.

Rock 'n' roll and its introverted cousin - the singer-songwriter- often come as a package. Circumstances dictate which side turns up. In 2024 the full band rocked up with the brave aim of conquering Birmingham. In 2025 one man and a guitar aimed for connection. Sometimes less can be more and there was hell of a lot from a solo performance.

Striking the pose of a cuttingly attired cultured artisan, the show was hot out the traps. A Hank Williams pre-set tape can inspire as long as you ain't trying to usurp the legend. Towards the end of an hour long first set our Canadian guest shared a rare cover of the Hillbilly Shakespeare. In the final throes of a fifty minute second set, he referred to himself as a drifter. There is definitely a rambling link to these idealistic travelling singer songwriters.

If your thing is quietly strummed lengthy engaging song introductions, it was nailed just before the break. The preamble in the lead up to 'Jigsaw' blended ghost towns in Ontario, 70s music TV shows and the decline of Danny, from the Juniors fame (you know the tune - At The Hop). The interlude called things to a brief halt before more riveting fare from a guy schooled in the art of writing and delivering a top song. 

Jerry Leger newbies had the deal sealed in the second half. An artist in full flow, occasionally letting in a chink of personal light, but forever the charged professional. Short changed never once grazed the agenda. It probably never has at a Jerry Leger show.

We were up for an encore when it would have been easy to slip away. The requested 'Out There Like the Rain' was born to close an acoustic show. Wise advice is to share it every time. 

Travelling singer-songwriters rock up, show their worth, peddle some merchandise and move on. Sometimes the memory fades quickly. Other times something may linger a little longer. Whatever camp Birmingham 2025 falls into, there is always satisfied listeners to reflect on. They showed up and left a lot richer. 

Album Review: Taylor Rae - The Void

 www.taylorraemusic.com

There is an understated charm to Taylor Rae's second album creating the impression that appreciation is slowly accumulated. There was a buzz around her 2021 debut release in certain quarters, yet a wider world awaits when the hypnotic wares of this artist ferment within fresh ears. THE VOID hovers around  a neatly constructed reliable beat without moments of fizz or lulls. A slow burner maybe, but one brewing with laid back elegance. Genre tags evaporate with perhaps the lingering line being a record juxtaposing warm pop with explorative Americana. 

A sense of control underpins the ten tracks with a savvy production securing a sturdy base. Rae possesses an exceptionally measured voice aligning with a mature contemporary sound. The songs benefit from sufficient space and work well in both combination and a few jutting out as solo pieces. 

Three tracks faintly edge ahead to accrue extra appeal. The unabated sultry 'Cologne' drools with a moderately funky undercurrent while thinly laced with a light blues touch. The roots tinged 'Telluride' is an aural massaging beauty benefiting from perpetual mandolin. An album defining track capable of turning ears. 'Trapped' oozing with a lovely melody is a real treat in the album's final phase.

A couple of contrasting numbers guide the opening stages. 'The Void' with a delicate and tender side purrs with modern folk tendencies. This is followed by a springy pop beat adorning 'Maybe I'm the Villain', a tune awash with layers of melting guitars. Guitar also play a large part in the album closer with a lengthy outplay showing signs of the sound breaking out. Prior to its ending 'The Airport Song' is dictated by the album's general pace and like most of the preceding thirty minutes dangling lyrics to draw you in. 

For a smidgeon of variety, late night jazz lounge sentiments hang around the personal feeling to 'Celebrating Alone', while you can detect remnants of a reggae beat in 'Hi'. The other two tracks completing the set, 'Undertone' and 'Not Mine', simmer in the signature groove with qualities arousing a serene setting. 

THE VOID weaves its way into your senses with rhythmic guile and vocals spilling out sweet authenticity. Its entrance and residence is akin to the style cultivated by Kacey Musgraves on Deeper Well. Following that template and the name of Taylor Rae will exponentially grow. 

Album Review: Grey DeLisle - The Grey Album

 

www.greydelislegriffin.com

What do you do when songs are literally pouring out? Whatever the drawbacks Grey DeLisle decided to stack an album high with twenty songs and let listeners cast their verdict. The merits of an hour long record of this type could be debated but its effect to push the right buttons is undeniable. After re-emerging as a recording artist in 2023, THE GREY ALBUM is release no.4 and the most extensive one to date. Grey DeLisle is an all-round entertainer with Hollywood voice-overs being her forte. The way she digs deep to convey every inch a timeless country star puts a talent under a different spotlight devoid of flaws and right on the mark. 

Country legends spill out as influences as you lap up the offering and you could be forgiven for thinking more than the odd classic cover has been included. However writing has preoccupied DeLisle for a long time highlighting that the bulk of these original songs have been bubbling away for years. While the team around this release have skilfully contributed, credit goes to paving the way for perceived ownership at the feat of one talented vocalist bringing time honoured themes to life in an adorable way.  

Expect songs twistingly beautiful and achingly fragile. Menacing yarns mix with those soaked in sentiment. Emotive nostalgia frequently graces songs bound by hope and sadness. The odd tear jerker is tossed in alongside many serenaded by pedal steel. You can elect to let the whole entity rinse you in the holy water of country music or cherry pick a tight playlist in accordance with modern listening trends. 

THE GREY ALBUM pitches individuality among familiarity. Grey DeLisle appears to be living the dream. You are cordially invited to hitch up and join an artist seemingly born to write, sing and deliver a country song. Rescuing from the lost and found, polishing and presenting as brand new sees an artist embracing a fresh direction. 

Suggested picks - 'Hello, I'm Lonesome', 'Coastal Town', 'Reach for the Sky' , 'Daddy, Can You Fix a Broken Heart', 'A Promise I Can't Keep', 'Don't Let Go of My Head', 'My Darlin' Vivian', 'Take Me Dancing Again'. 

Album Review: Ashleigh Flynn & the Riveters - Good Morning, Sunshine

 

www.ashleighflynnandtheriveters.com

Twelve years is a long time between dipping into an artist's work. Maybe it was fate for Ashleigh Flynn to cross the path again after an album in 2013. Not that either of us have been inactive, just operating in parallel universes. In 2025 the name has been extended to Ashleigh Flynn & the Riveters with the sound straddling a beam splitting boisterous bar music and moments to soothe the soul. The prime feeling to GOOD MORNING, SUNSHINE is rock 'n' roll held together by adhesive twang. Flynn stylishly leads her all-female band primarily on a string of uptempo numbers inviting all on a speedily rhythmic journey. The pace is punctuated with revitalising fuel stops as we all need time to savour life's finer moments. 

Eleven tracks form the rump of this West Coast release led off by the infectiously charming 'Drunk in Ojai', primed with hooks to shine in that all-important opening slot to keep listeners engaged. Following the classy title track second up, the rollicking and absorbing 'Deep River Hollow' is an early contender for stand-out moment. We are now feeling the effect of the Riveters in full flow. Further down the line, the traditional feeling 'Little Red Wing' makes a sterling challenge for the top slot. You can't go wrong with a memorable chorus to use as a singalong. A lasting impact is that the Riveters would be great live. Lucky souls on the West Coast.

A couple of slower tunes strategically slot in. The addition of steel draws the ears towards 'Love is an Ember', while as we turn the corner 'Much Too Proud' eases the throttle juxtaposing the album's general trend. A chink of country light shines on story song 'Tilly Jane Ridge' with an attractive tune underpinning the piece. Fits of fiddle, blasts of harmonica and plenty of guitar are always welcome in a roots leaning album and 'Eye of the Light' features all three. 

The finale is more solid than spectacular. 'Shake the Stranger' sees the album nicely in its groove. The penultimate track 'Bird in a Cage' bolsters the West Coast rock feel before paving the way for feel good closer 'Don't Leave Me Lonesome' to exit in fine style. Thus ending a thirty-seven minute engagement on a positive footing. 

On GOOD MORNING, SUNSHINE Ashleigh Flynn & the Riveters unveils a maturely elegant sound without losing a glint of unabated youth. Resolute roots are displayed throughout alongside a trait to connect. Maybe the gap of connection won't be a dozen years next time.

Gig Review: Stephanie Lambring - Thimblemill Library, Smethwick. Friday 11th April 2025

www.stephanielambring.com

Sad songs and happy persona have coined multiple phrases and even T-shirts within Nashville’s song writing community. Gretchen Peters and Caroline Spence spring to mind and now you can add Stephanie Lambring to the list. Before striking the opening chord, equating the polar opposite feelings was her greeting as the latest talent from Music City’s discerning side to head overseas debuted in the West Midlands. 

Lambring’s lenghty career in music has been a stop-go affair with spurts, remodelling and altering the landscape to find the right groove. She is now in her 5th year of a second phase as a recording and performing artist. Several long term fans in the Thimblemill audience held memories from the first phase of 2009-2013 bringing CDs from the period and recounting the occasional show. The intermediate period saw the Indiana native polish her skills as a day-to-day songwriter getting by on publishing deals. Such a sharpness defines the current state of Stephanie Lambring's career.

After a 25 minute set from local singer-songwriter Simon Connell, our guest from 4000 miles away announced her arrival with warnings of misery and duly provided in the best possible way. For the next seventy minutes, we had an exhibition of blue chip songwriting starting with ‘Daddy’s Disappointment’ and rarely raising the happiness barometer. 

Songwriting is an important median for tackling society’s issues and Lambring doesn’t hold back on body shaming, the ills of religion and different facets of conflict. Forget the existence of love songs. Two of the picks from the set included ‘Good Mother’ balancing the parental side of the opener and ‘Jasper’ where she expertly dissects a small town character. A further brace of memorable songs were ‘Purity Ring’ putting a different slant on the strike zone and ‘Old Folks Home’ being as literal in the content as the title. 

It is the honest down-to-earth lyrics marking Lambring out as an exceptional creative writer. No need for fancy metaphors and flirty dreams (they are done well elsewhere), this is grit and what often defines country music. The gift on show is to frame so much sincerity in the three minute song.

The ultimate gift from Stephanie Lambring is the brutally epic ‘Hospital Parking’ defying literary laws to what can be included in a three and a half minute song. Poignant observations, achingly relatable lines and crafted lyrical inserts all play out within a instantly stark opening and the most unique of endings. A gem can make an artist. This song should be treasured. 

When listening to the albums pre-gig, a resemblance to the music of the aforementioned Caroline Spence cropped up. The penny dropped in the encore when the mood was slightly lifted with ‘All the Beds I've Made’. This was cut by Spence on her landmark Spades & Roses album and instantly recalled as a Lambring co-write. A perfect end to an evening where you needed to fine tune your listening antenna. 

What the future holds for the music career of Stephanie Lambring is unclear given her roller coater ride, though the songwriting chops will guide towards a fertile land. To move onto the next level of the overseas touring artist some collaboration would be useful to up the on- stage dynamics. The songs have a limitless potential for enhanced presentation. There will always be room for the ultimate stripped back performance like this evening but evolving is the art of longevity. 

Select venues in the UK, particularly Thimblemill Library, have been fortunate to witness close at hand the re-emergence of Stephanie Lambring. Seeing a talent pass through your town is a privilege. Cherish these artists, offer encouragement in any form and you are preserving a special bond. There is a reason trawling your net 4000 miles yields results. Nashville is simply the best songwriting place in the world. 

Festival Review: Ramblin' Roots Revue - Bucks Student Union, High Wycombe. Friday 4th April to Sunday 6th April 2025

 

Ramblin’ Roots: a time of the year when spring gains momentum. A gathering of likeminded music fans bound by a love for something different. An event tightly run offering outstanding quality and kindness to the pocket. A festival not afraid to throw in a few curveballs. A revue where lighter moments jostle with darker songs. You can tell your friends but experience speaks louder than words. 

Artists need an audience; an audience needs a performance. A fragile bond without effective organisation. Ramblin’ Roots is strong on all three fronts. The organisers deliver; musicians seize the opportunity; fans reap the rewards. 

Country in all its various guises, Americana and roots music can be tough to explain to outsiders. Inside a welcoming wide tent, the converted require no explanation. 

Sometimes music only needs a few accompanying words. In the spirit of the Japanese haiku, succinct on the spot reflections from an extensive weekend of superb performances are the flesh of this year's review. Enjoy!

Jonny Morgan

Charismatic act

Blending bass and sax

To connect with folks 

Sorrel Nation

Stylish band panache

Adding folk rock aura to

Sultry layered songs

The Marriage

Majestic duo

Sharing music and song

Across the border

Ward Thomas

Sibling harmonies

Presenting bright country pop

To keen open ears

Savannah Gardener and the Recovering Good Girls

Outlaw sass wooing

A party crowd up for a

Friday finale

Hannah Scott

Blissful songwriting 

Enabling emotive themes

To reach other hearts 

Malcolm Charles Moore

Resourceful singer 

Pitching songs to new bodies

Grasping the mantle 

The Rosellys

Finding a roots seam

Through inspired musicianship

And authentic sounds

Jol Rose

Right out of the blocks

Firing folk shots from the stage 

With guitar in hand 

Ren Harvieu and Romeo Stodart

Immersive duo

Exude theatrical vibes

Oozing style and craft

Sarah Jane Scouten

Talented exile

Melting aching country hearts 

With pedal steel tears

Peter Bruntnell

Alt country rocker

Feeding off a top notch band

In time honoured style

Elaine Palmer

Atmospheric roots

From the chimes of twin guitars 

Evokes a sweet mood 

Annie Keating

Band for all seasons

Excelling in unison

Fronted by a star 

Southern Fold

Mid tempo rock band

Purveying Kilkenny roots

Gifting rhythmic guile

The Dreaming Spires

Reviving Spires

The supertruth still not found

But boy they’ve got soul

The Breeze

Introspective band

Jamming around the edges

Leaving folks to seek

Danny and the Champions of the World

Born to headline shows 

Cutting innovative grooves

Champs for a reason

Susannah Clegg

A voice to die for

Showing our future is safe

In capable hands 

Katie Whittaker

Gutsy performer

Using fiddle to great effect

Sharing sincere songs

Roseanne Reid

Quality artist 

Bouncing back with song beauty

One to believe in

Bobby Lee

Music to chill to

Three Players finding their groove

Ambience abound

Trevor Moss & Hannah Lou

Acoustic delight

Two voices melt into one

Moving when solo

Simeon Hammond Dallas

Sharing joyous flair

Shining a powerful light

Leaving an impact

Jerry Leger

Stylish songwriter 

Exploring several themes

Acutely stripped back

Rachel Laven

Lone Star State Ramblin' 

Reclaiming country music

Boots and songs to suit

Orphan Colours

Guitars and sax rock

Homegrown Americana

Soundtrack as night falls

The Autumn Saints

Enigmatic front

Stacked with deep dark southern vibes

As alt as you get

The Hanging Stars

Full on charisma

Jangly roots rock bands for life

Fitting finale

If you're still here, thanks for the indulgence. You can't churn hundreds of this stuff out for years without mixing it up from time to time. 

That's the wrap on Ramblin' Roots 2025. Twenty nine invited acts and the infamously entertaining Clubhouse All Stars. Anyone up for 2026! 

Gig Review: The Delines - The Glee Club, Birmingham. Monday 31st March 2025

 

What is Americana? Gatekeepers, tastemakers, bedroom bloggers and media movers all grapple with a definition. Some expand it from music to wider culture; others philosophically pinpoint it as a 'state of mind'. Artists are often oblivious to it, rejecting the boundaries of genre constraints. Whatever your take, Americana is a living breathing entity, flowering far from any hinterland. If there's room for one more assimilation, embrace the literary imagination of Wily Vlautin, absorb words from the grounded tones of Amy Boone and let the soundtrack ferment in a combo of instrumental maestros. Maybe the answer lies in The Delines. 

Characters from the gritty lanes of real America are given a voice in the songs. Three minute story tellings are a microcosm of a Wily Vlautin novel. Often female and always the underdog, the themes are stark. When The Delines launch into any song from a tight album catalogue, a hush descends on the audience. Honing in on the lyrics goes hand in hand with laying your money down for a show. It helps they are delivered with mesmerising clarity. Blend in a soundtrack reverberating around delicate rock and soothing soul enhances a musical punch. All these ingredients came to the fore in The Glee Club.

Bands that curate an identity sound possess a formidable selling point. The Delines are never going to smash the ceiling of populism, yet there appears an optimum engagement in the numbers they deal in. 

Growth has accompanied the band's activity in the UK. Using Birmingham as a barometer, a cosy gathering in the Hare and Hounds' small room greeted a new name in 2014 stated at the time as 'nailing the sound of country soul'. When returning to the venue post-pandemic, it was the large room playing host. Three years down the line a packed main room in The Glee Club doubled previous turnouts putting the talent on a suitable pedestal.

The Delines excel as a unit. Vlautin and Boone interact innately, Sean Oldham and Freddie Trujillo shore up the bass and drums backfield with consummate ease, while Cory Gray magnificently multi-tasks on keyboard and trumpet. The latter's timely blasts ignite any room. The ease of the tempo aches with cultured elegance. The odd raising of guitar intensity is respectful. Boone almost owns the vocal space allowing sufficient room for harmonies to frequently bloom. For an hour and half, The Glee Club left its comedy facade behind filling the air with fragrant sounds of country soul and, yes, Americana.

From the progressive hotbed of Portland Oregon, The Delines chose the southern English roots of singer-songwriter Peter Bruntnell to open on this tour. If the main course is a delicious serving, ensure the starter matches the pedigree. A combination impeccably honoured. 

Whether it's the fertile imagination, wondrous vocals or esteemed musicianship that seal the moment, take a step back and savour how all the ingredients make The Delines tick. They are a band turning real life travails into a genre defining moment. 

Gig Review: Red Sky July - Kitchen Garden, Kings Heath, Birmingham. Thursday 27th March 2025

 

It was as though time had stood still. Engagement with Red Sky July fizzled out a few years ago after a trio of releases and a couple of ventures out to see them live. The band admitted the last time they visited Birmingham was to open for Beth Neilson Chapman at the Town Hall. That was 2014, a year where the band connected with a lot of new fans. SHADOWBIRDS was the excellent album opening doors and later in the year a first Red Sky July headline gig was caught at the now demised Musician in Leicester. TRUTH AND THE LIE and VOYAGER records followed though alas no more opportunities to see them live. Now fast forward to 2025 and a year of reconnection, at least with some in the Kitchen Garden. A new album and tour dates in support of it brought the years flooding back with the final night being a long awaited return to Birmingham.

There was one major change with the line up since the heady days a decade ago. Haley Glennie-Smith has replaced Charity Hair as the third member joining the core team of husband and wife Ally McErlaine and Shelly Poole.The fit proved seamless from a distant memory as the trio gelled on all points from harmony to musicianship and a genuine affable bonding. A warm friendly atmosphere defined this gig alongside three artists excelling in what they do best. 

McErlaine's adept guitar skills on both acoustic and electric befitted somebody with a distinguished pedigree polished as a key early member of Scottish band Texas. Poole's vocals bridged a pop background and a current deep dive into folk and Americana via Gram Parsons and Emmylou Harris covers plus an interesting take on a Child ballad. Glennie-Smith proved the surprise package with a smooth combination of sweet vocals and effective guitar playing. Apart from a sprinkling of covers, the setlist trawled the Red Sky July catalogue with an expected focus on the new album MISTY MORNING. The pick of the new songs was a story piece titled 'Utah'.

As enjoyable as this Red Sky July renewal was, a combined set time well short of an acceptable ninety minute mark left a gap in the music. While a wholly personal and arbitrary measure, any investment in time to attend live original music for a modest outlay deserves the said time of entertainment which may or may not include a support act. Arguments of quality over quantity and artist discretion are rebuked from somebody laying their money down. Maybe something for artists to reflect on away from any contractual arrangements. 

Album Review: Sam Outlaw - The Nonessential

 

www.samoutlaw.com

The clue is the pun in the title but the fact this collection did not follow the conventional album route is irrelevant. A lot of these quality songs trickled out as digital releases over the last year or so and packaging them in a collectable format adds value to an impressive catalogue. Sam Outlaw has long held sway as an enigmatic performer. His work is often a conduit between staunch country and a desire to intelligently experiment. This album quintessentially spells out the last ten years. Orphaned tracks maybe but now an entity at the heart of a treasured collection. 

Gig Review: Thea Gilmore - Newhampton Arts Centre, Wolverhampton. Thursday 20th March 2025

 

www.theagilmore.net

Thea Gilmore has found her new post-pandemic solo format a productive route for a career spanning well over twenty years. Three albums and at least four tours have materialised since the brief surfacing of her temporary moniker Afterlight. The West Midlands regular hosts tour shows with twin Birmingham venues The Glee Club and MAC welcoming her on three occasions since 2021. This time it was the turn of Wolverhampton to roll out the welcome mat, and a sold out sign weeks in advance proved it was a popular choice. 

When an artist goes solo there is no place to hide. Gilmore thrives in this setting using her stature and experience to sidestep any blips. The key to this phase, that has been attracting new admirers, is how repeated rays of creativity beam from the music, words and performance. The middle of this trio is most pertinent to one of England's most literary inspired songwriters. She is not afraid to insert spoken word into her work and each song lyric imparts meaningful phrases and word patterns 

Musically, Gilmore embraces technology. She has referred to the synth and loops as 'her cheaper band' and they add an innovative layer without overpowering the core sound treating her well over time. The voice took a downturn a few weeks ago with the need to reschedule several shows. You wouldn't have guessed from the floor of Newhampton Arts Centre. The rest may have even re-fuelled it. One particularly stellar moment from the show was the unaccompanied 'Josephine Knots' which narrowly won the audience vote for the chosen song on the set. The infamous 52-48 margin was on the right side tonight. 

Covers albums can split opinion down the middle. Thea Gilmore released the third of her career recently, so there is no doubt where she resides. You can sense why other music means so much to her and the craft put into reinterpreting the work of others shines through. The latest album didn't smother the setlist, with only two tracks carefully selected. The marvellous way she took temporary ownership of 'Killing Moon' and added value to McCulloch's original shone through. Likewise only Thea Gilmore could hear a folk song in 'Sweet Child of Mine' and turn it into one.

The stunning twin peaks of this show were the two pre-encore songs. 'The Lower Road' came across as a mellow slice of luxury, while the passion and sentiment packed into the part song-part prose 'The Bright Service' uplifts mere mortals. The rhythmic pattern of 'army, tsunami, pharmacy and calm me' melts me every time. 

Thea Gilmore's values season every song she writes. Early in the set 'Don't Dim Your Light for Anyone' champions the power of originality, while closing number 'I Lift My Lamp' had to be resurrected from 2016 to hold a torch to Stateside comrades. I'm sure many people in the audience share her values.

The rest of the ninety-minute set featured popular mash ups, Patreon premieres, familiar favourites and one emotionally driven commission. 'She Speaks in Colours' possesses an evocative song title and its back story is touching. It regularly appears on set lists so pop along to a show to find out more. 

Whether on electric, acoustic or looping or not, the sound is crisp and bores deep into your spirit. The crowning moment of a Thea Gilmore show is the creative spark emanated. That spark has the power to ignite a dormant urge in any recipient. Leaving the show with a desire to read, write, sing, play, make or just think differently is a testimony to what connective art can do. Thea Gilmore connects in this way. 

Album Review : Carter Sampson - Live at the Blue Door

 

www.cartersampson.net

There are few as hypnotic and persuasive singer-songwriters as Carter Sampson. The Queen of Oklahoma possesses the knack of sprinkling her stardust in equal portions on both studio recordings and live performances. Oklahoma City’s much loved intimate venue The Blue Door has been the venue of lush live albums before and proves the perfect setting for a Oklahoma luminary to re-stock that all important grass roots accomplice - the merch table. Expect a crisp presentation and an adorable persona to accompany an exceptional artist with the songs to move you. Make this your go-to live album for 2025. 

Album Review: Richie Lawrence - Moving at the Speed of Trees

 

www.richielawrence.com

Full kudos to the year’s most poignant album title. A message for all to navigate this world and savour beauty in whatever format we desire. The pace of the opening track sets the tone for a record echoing the metaphorical motto. Sweet and rugged vocals intermingle as we glide through a contemplative landscape. Absorbing influences and accomplices’s contributions gives substance applying smoother touches especially to the vocals.  Lawerence is open to sharing from his base as pianist, main writer and chief architect. A mature outlook is sonically captured within a package right on cue and finely laced for the ears. 

Gig Review: Danny & the Champions of the World - Hare & Hounds, Kings Heath, Birmingham. Sunday 16th March 2025

Over the last dozen years, each Danny and the Champions World performance (festival set or headline gig) would draw a similar conclusion. You sensed a band playing their hearts out as though the final curtain was about to come down. Such consistency cemented an appeal rewarding a strong bond with an outstanding outfit. There was something different about the Champs return to Birmingham, a town where the relationship is measured in dedication rather than numbers. This time you sensed a band in control and playing with a tight composure. Far from a curtain coming down, the revised five-piece appeared in the zone ready to play for eternity rather than maximising a limited scope. 

You cannot underestimate the impact of the latest album, where the band bravely contorted their rock 'n' roll chops in an experimental mood-driven electro direction. YOU ARE NOT A STRANGER HERE needs time to ferment especially to fresh ears. Likewise its live presence matured from a slow moving intro witnessed at the 7 Hills Festival in November to an intoxicating immersive experience for a beguiled Hare and Hounds gathering. 

The hour and three quarter stage time was a masterclass in setlist construction. Three songs from the new album mesmerised the first twenty minutes. Sandwiching the tempo setting 'Talking a Good Game' and the hypnotic 'I'm in Love' is the poetic masterpiece 'Kicking Tyres'. This emotional metaphor spawns life, desperation and bleak analogies within a warm and comforting soundscape. The rest of the new material strategically interspersed with iconic Champs that has moulded anglicised Americana into an original entity. 'Future Past' altered the pace at the right time, while the killer chorus melody to 'The Robot Cries' echoed a greater presence in a live setting. The jewel in the crown is the newly anointed thumping Champs anthem 'Sooner or Later'. Its evocative impulses transferred you from an upstairs room in a gritty Birmingham suburb to a spacious throng swaying with intent. 

This pre-encore finale saw the Champions of World become a plus one with opening act Annie Dressner joining the fray on backing vocals and tambourine. She appears to be relishing this opportunity to join the band on an 'extensive tour'. Not a phrase you can apply to the band in recent years, though in fairness Danny Wilson rarely leaves the spotlight with several other ventures. Annie effectively uses the half hour support slot to display her distinct talent revolving around astute songs and a cult cinematic vocal style, the latter being more in the indie 'B' movie camp. Her songs are becoming increasingly familiar as she constantly seeks live opportunities. 'Black and White' and '18 Years' are standouts though they are about to be challenged by the strong anti-misogyny number 'For the Thrill of It' that draws solidarity and focusses minds in a barrage of irony and keen messaging. 

If keyboardist Thomas Collison is driving the new sounds, existing fans can be rest assured guitarist Paul Lush commands a key role in pushing the old favourites to new limits. Mind you all five Champs are in perfect unison from start to finish. With 'Henry..' and 'The Colonel..' in the rest home, classics like '...Space Rocket' and 'Clearwater' toss you into a reassuring world of old friends. You can dance in anyway you want at a Champs gig, Danny applies the cue. Smart ears and eyes will steer towards the immense rhythm pairing of Joe Bennet on bass and Steve Brookes on drums. The adhesive in the amalgam. 

There will never be a best Champs line up. Enter the stage once and life membership is awarded. The current five-piece appears consistent. You can start making the case if you wish. 

At the core is the inimitable Danny Wilson. Those hours in a South London record shop continue to pay off. Danny and Birmingham isn't an overused phrase. Danny and Bewdley has surpassed it in recent years. Tonight those whose Champs' live experiences puts miles on the clock had a treat with a shorter excursion. Then again any Danny and the Champions of the World adventure is a blessing. 

NB. The Champs last played Birmingham in 2014, with the Hare and Hounds a year earlier. Danny Wilson has taken his solo and Bennet Wilson Poole act to Bewdley twice since. 

Roll on Ramblin' Roots! 

Gig Review: Steve Knightley - Katie Fitzgerald's, Stourbridge. Thursday 13th March 2025

 

www.steveknightley.com

Steve Knightley’s lengthy performing career has seen him play large venues and village halls. While Stourbridge may sit somewhere in-between, finding new places to play is always on the radar for one of England’s premier folk artists. Strictly speaking this was actually a return visit to Katie Fitzgeralds’s, although the performing space has radically changed. The introduction reminisced about a show over twenty years ago in the venue’s now mothballed cellar stage. In 2025 live music is held in Katie’s Secret Garden, a purpose built annexe superbly appointed and equipped to host performing arts. With the seated capacity almost full, the scene was set for an entertaining evening of solo-performed songs and stories. 

Since announcing an indefinite hiatus for Show of Hands, Steve Knightley has been exploring other aspects of his craft. Key output was a solo album released in 2024 titled THE WINTER YARDS and now two extensive run of dates. Stourbridge was in the early phases of the spring tour, and just scanning the schedule reveals the extent of a touring horizon. Through a thirty-year plus professional career, gigs have been the bread and butter. The absence of a ‘hit’ or breakthrough moment focussed the importance of reaching fans through shows. Whether in various formats of Show of Hands or solo, Steve Knightley has more than exceeded expectation to become a much loved and in-demand artist. 

Hot on the heels of the latest album, Knightley dropped a surprise release a couple of weeks ago to supplement the tour merchandise. POSITIVELY FOLK STREET saw twelve songs made famous by Bob Dylan and Martin Carthy given the stripped back Steve Knightley treatment to honour the impact the two legends had on a fledgling folk artist growing up in East Devon. As expected a handful of tracks filtered into the setlist. From Dylan, ‘Girl From the North Country’ and ‘Senor’ graced Stourbridge with the latter given special treatment via a Venezuelan Quattro. This song has been recorded twice by Knightley and its airing tonight was accompanied by tales of Chilean dissidents opposing Pinochet. A recurring theme of protest during the show.

We learnt that the THE WINTER YARDS album was a different Steve Knightley approach to making music, more in line with emotive singer-songwriters and often written with a chord progression in mind. Shared from that release, included a co-write with Blue Rose Code’s Ross Wilson ‘Remember this Kiss’ and a song inspired from a friend’s marital escapades titled ‘I’ll Never Forgive You’. Perhaps the most memorable from that record was ‘The Ride’ which was a lockdown song focussing on those down on their luck.

Back to traditional folk saw the dark ‘Bruton Town’ given an outing. An adaption of Martin Carthy’s version appears on the surprise covers album. For a slice of irony, ‘It’s Ok If It’s a Folk Song’ raised a few smiles. A original composition providing an interesting take on traditional music. 

The prime moments of any Steve Knightley show will be the popular singalong rousing numbers that have thrilled folks throughout the land for many years. ‘You’ll Get By’ opened the first set with audience interaction from the start. A medley of ‘Roots’ and ‘Arrogance, Ignorance and Greed’ did likewise in the second half with the themes as relevant today as when written. The popular side was nailed in the final throes of an enjoyable evening with ‘Country Life’, ‘The Galway Farmer’ and ‘Cousin Jack’ drawing hearty accompaniments from a signed up crowd. Intermingled with a string of songs spanning an hour and three quarters were many stories, often poignant, occasionally witty and framing why Steve Knightley is an endeared live performer. 

Steve Knightley continues to throw his heart and soul into music. It is his calling, his passion and his living. Show of Hands may be locked away in the cupboard for now, but the spirit, music and ethos continues to flow in venues across the country. Katie Fitzgeralds had its moment on a cold  and satisfying March night. 

Album Review: Nikki O’Neill - Stories I Only Tell My Friends

 

www.nikkioneill.com

Make an album accessible and sweet sounding and you are half way there. Stack it with interest arousing story songs and its potential starts to unravel. Nikki O’Neill’s soulful driven Americana is just the tonic to brighten up a record collection with a fresh and vibrant bunch of songs. All the classic soul and r’n’ b sounds mingle with a range of tempos. Agreeable vocals and top musicianship tackle personal issues of inclusion and migration, pertinent for a resettled American with a European upbringing. The eleven tracks leave a warm glow inducing further artist delving. Sample lavishly at your pleasure.