Gig Review: Michell, Pfeiffer and Kulesh - Kitchen Garden, Kings Heath, Birmingham. Sunday 20th July 2025

 

Songs sans frontiers; a motto embedded deep into the heart of Michell, Pfeiffer and Kulesh. Three musicians of varying background seeing language as an enabler not a barrier, and a common bond of decency, liberty and celebratory song. Trio is a long adapted format in folk, roots and popular music. The key is to complement with a difference. Here Karen Pfeiffer is the theatrical dramatist adding layers of flute playing while exploiting an Anglo German background. Daria Kulesh portrays an expressive emotive demeanour from a central stage position providing an alternative slant on a Russian heritage away from the current narrative. Odette Michell exudes the calm poise of an English folkie using finely tuned vocals and deft guitar playing to stir an international pot. Together they grace many a stage winning friends and illuminating rooms. 

The trio play the Kitchen Garden to a tee, embracing the surroundings and engaging the audience with bundles of participation. Fun blends with poignancy; stories mingle with irreverence. Traditional and original songs share the platform. A togetherness spills from the stage with a sense of individuality retained. All three have thriving careers outside the trio and this filters into a two-set evening. 

Odette Michell has the latest album out with copies shifting quickly from the merch table. THE QUEEN OF THE LOWLANDS is barely a month old yet drawing acclaim from the folk world. Its winning formula of original songs sounding like traditional standards comes across in the two songs she adds to the Birmingham setlist. These include the album title track with its heart warming story and ‘Flowers’ a co-write with Kulesh. The pair often work together away from the trio and previously lived in neighbouring locations.

Daria Kulesh has the most past association with the Kitchen Garden regularly bringing her international Christmas show to the venue each January in line with orthodox tradition. It was hard to look past her song ‘The Moon and the Pilot’ as the evening’s most inspiring moment with its twist of Soviet repression, regional resistance and ultimate triumph providing a backdrop to a true story regarding her grandparents. Musically, Kulesh uses the shruti box for effect and extracts rhythm from the bodhran. Frequent dips into Russian lyrics and other voices from the Caucuses spice up the vocals. You can't fail warming to an infectious personality and a unique take on music.

Karen Pfeiffer is known on the folk circuit for her duo act with husband Paul Walker. The theme regularly calls on the twin locations of Stuttgart and Stoke on Trent with the latter’s industrial past reflected in her own composition ‘Golden Age’. This singalong keeper was the most animated part of the setlist and like many of the trio’s songs focusses on issues of pride and solidarity all wrapped in a style gifted to an audience for enjoyment. Pfeiffer calls on an array of flutes dependent on tenor, bass and alto requirements increasing the eclectic mix of the instrumentation.

When dipping into the vast traditional song well, smart choices are made. Either side of the 'nod and a wink' final song, two popular choices filled the air with grace and communality. ‘Where Have All the Flowers Gone’ will be sung for eternity and if there’s a more evocative version of ‘Those Were The Days’ than this multi-lingual melange, it has yet to surface. Completing a trio of singalong favourites was ‘Bella Ciao,' this time adding Italian to a language melting pot of German, Russian and English. A rousing performance of a gutsy song. 

Pfeiffer’s homeland featured in the show opener ‘My Love’s in Germany’ with an early stamp on addressing issues that continue to scar the world. Compassion and resilience is all around and exemplified further in the kindness of ‘Pockets Were Empty’. Most of the songs are scattered across solo records and the debut Michell, Pfeiffer & Kulesh album released in the summer of 2024. 

The success of this Birmingham performance lay in three strands: sparkling collaborations, an appealing blend of languages and three artists skilled at conveying a musical nous to appreciative audiences. The trio of Michell, Pfeiffer and Kulesh doesn’t have the opportunity to play together that often, making each event a special occasion. It was a pleasure to be in their presence for a fabulous display of international music on a night where any perceived borders were torn down. 

Gig Review: Boo Hewardine and Yvonne Lyon (Things Found in Books) - Thimblemill Library, Smethwick. Friday 18th July 2025

 

www.thingsfoundinbooks.com

 

Not every show on this tour can be hosted by a library but when so, an extra sparkle enters the room. The fit was obvious when Boo Hewardine and Yvonne Lyon’s Things Found in Books touring project secured a slot at Thimblemill Library. A project born in lockdown coming to fruition five years later with a record, a book and a run of gigs the length of the land. Urban festivals have helped bring the performance to the Midlands with the twelve-day Lichfield event staging a show last week and now the turn of the Birmingham Jazz and Blues Festival to add this intriguing evening to a vast array of music events across the West Midlands. You could argue in the ‘spirit of San Francisco’ that the festival is ‘hardly strictly jazz and blues’ but there were no arguments to its artistic quality when two exceptional singer-songwriters stopped off in the borough of Sandwell to share their story songs and a little bit more.

The idea was spawned when Yvonne Lyon came across a notice board in Culzean Castle’s second bookshop displaying items left between the pages of books donated for reuse. Scraps of informative paper, photographs and small fragments of literally anything each told a story and proved rich pickings for a songwriter searching inspiration. Though an esteemed songwriter herself with a large body of work in the vault, Scottish-based Lyon felt this would provide the fruit for a collaboration with English songwriting extraordinaire Boo Hewardine. Good things come over time and folks can now enjoy the double strand of interesting stories and prime songs.

After a run of full band shows, Thimblemill Library reorientated its adaptable performing space to house a smaller stage ample for a duo on keyboards and guitar. Boo Hewardine is no stranger to the venue, while Yvonne Lyon is far from a familiar name in the area. This degree of awareness didn’t matter as the pair gelled from the start performing two lengthy sets of songs impeccably played, immaculately sung, entertainingly introduced and engagingly received; all the recipes for a successful evening.

The first half saw most, if not all, of the album played. The stories behind the songs are what makes them special, hence the importance of the book. The pair exchanged lead vocals on titles such as ‘Marion and Sydney’, ‘Salvadore Dali and Me’, ‘Montepellier’ and ‘Paul McCartney in 1970’. One different mode of delivery saw Hewardine narrate a letter from the King dated 1919. One voice and Lyon’s understated keyboard playing brought the contents to life. The interval was reached with universal applause, a rush for the merch table and the promise of the ‘hits’ in the second half.

Perhaps it is not seeing much of Yvonne Lyon live that elevated the remainder of the show to one of supreme enjoyment. She shared a handful of songs from a back catalogue including the popular ‘Everything’s Fine’ , the feisty ‘Tell It Like It Is’, the hugely engaging ‘Sail On’ and the utterly adorable ‘Enjoy Not Endure’. Singalongs needed little prompt and the Scottish lilt to the vocals adds a layer of warm assurance. When the Things Found in Books project runs its course, there is a definite space for Yvonne Lyon to fill evenings down south more with her affable demeanour and gracious style of fine music. 

Boo Hewardine brought his usual straight man humour to the house, built for bonding in the duo format. Apart from his usual array of brilliantly constructed songs including the ‘hit’ Patience of Angels, there was a twist in covering ‘What a Beautiful World’, totally random but a timely reminder. There have been many Boo Hewardine collaborations over the years with Brooks Williams, Jenny Sturgeon and Heidi Talbot immediately springing to mind. His liaison with Yvonne Lyon is up there with the best and maybe ripe for something else in the future.

The Birmingham Jazz and Blues Festival is now in its 41st year. A commendable run for an event mixing free and ticketed events extending from the city to the neighbouring boroughs of Sandwell and Solihull. Many genres of music are incorporated with a string of fine accessible shows attended over the years. The arts programme of Thimblemill Library is made for such participation and the decision to stage Things Found in Books proved a wise choice as exemplified by a healthy turnout and an appreciative response. Boo Hewardine will no doubt return to the area in some form or another, and it would be good to see Yvonne Lyon do likewise. In the meantime, when perusing books in libraries, charity shops and second hand stores, stay alert for what may be lurking. Stories can appear anywhere and in any form. 

Album Review: Mackenzie Roark and the Hotpants - Ghost of Rock and Roll

 

www.mackenzieroark.com

Mackenzie Roark and the Hotpants: a name to remember and the architect of an album full of songs set to lodge in your brain. Connotations of a grassroots band playing endless nights in bars and dives reflects the origin but the endpoint may well be halls, auditoriums and expansive festival fields. GHOST OF ROCK AND ROLL is an exciting hopeful release powered by breezy tunes and likeable melodies fusing smooth rock ‘n’ roll with jangly Americana. Violin and lap steel flavour the latter without dominating and the album would be among friends in any of the resurgent communities of post-punk and new wave. Through a thread of nine relatable tracks, Roark reaches out from a Richmond Virginia hinterland to keen ears in distant lands. 

The album kicks off with jaunty guitars peddling the punchy 'Take My Money' along with Roark's writing leaving room for thought. 'Late Bloomer' displays earthy qualities springing into life with a delightfully catchy chorus propelling the song. Subtle chorus deviations highlight the sharp writing on 'Rich Man', a track featuring the first slither of violin and repeating its predecessor by possessing an ear worm melody throughout. Three songs in and the Hotpants have made their mark with the best still to come.

'Hot American Red Blood' kicks off the second third of a forty minute album with Roark's grounded vocals echoing those of female-led indie bands of the 90s. Once again the pace rarely relents though always in a controlled manner. 'Last Call' sees a slight tempo change with violin more prominent. Not as instantly appealing tune-wise but the instrumentation piques interest in where the album is sonically heading. The writing pairs defiance with pity in 'Cigarettes and TV Dinners' as a more acoustic roots sound takes over the early stages. This track sees a return to killer choruses making the record an accessible listen.

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By design or not, the best of Mackenzie Roark and the Hotpants explodes in the final third. 'Killin' Time' differs to the other tracks by having more appeal in the verses rather than the chorus, although an emerging country sound starts to steer away from the embedded rock 'n' roll. The theme calls on loyalty, love and frustration, eloquently expressed by Roark's clear vocals. The title track acquires something of an anthem status as 'Ghost of Rock and Roll' candidly makes statements culminating in the escalating 'who's it gonna be? God or the Man or the Ghost of Rock and Roll?' Plenty of the latter in the vibes. The calling card of Mackenzie Roark and the Hotpants is left well and truly with an Americana mark. 'Broken Jukebox Blues' closes things in a timeless haze of traditional heaven. Another stellar chorus part spoils the listener and leaves a worthy trait of a sound seamlessly swaying between footholds.

GHOST OF ROCK AND ROLL shines a lavish spotlight on Mackenzie Roark - the writer and bandleader of the Hotpants. What evolves is a memorable set of tunes capable of engaging anyone who's smitten by Americana spiced with a touch of indie magic. All in the style of eminent rock 'n' roll leaving you to 'chase your own ghost.'

Gig Review: Blue Rose Code - Kitchen Garden, Kings Heath, Birmingham. Wednesday 16th July 2025

 

The performing space is flooded with sunlight. A packed Kitchen Garden audience spills out into the courtyard. The scene is set for an evening of self confessional eloquence. The advertised duo curtailed by misfortune; the reset solo poised to personify ‘less is more’. Blue Rose Code is on the ticket, a moniker, a facade, a fluent vehicle to convey the songs of Ross Wilson. Two interwoven strands pull the evening together: songs of perception and ingrained soul; life musings shared through the prism of poetic prose.

Tonight the room is a cathartic pool of co-habitation. The performer fills every crevice of an intimate venue with a voice of peace and gratitude; the listener absorbs every lyric, note and articulate word with relish. A sense of wellbeing is enacted. Music is the voice of the soul and Blue Rose Code strips back the essence of redemption to revitalise through finding the sweet spot. 

Live music at its best inspires and moves. It seizes the moment rendering fact and detail surplus to enrichment. Replication is a needless act; reflection is a warm glow of fondness. Blue Rose Code embodies the connective spirit and Ross Wilson uses hypnotic qualities to breach the finely defined line between artisan and partisan.  Once eroded, the connection is complete. The Kitchen Garden experiences a solidified bond of togetherness. 

Mission complete and Ross Wilson heads to Bournemouth as a enraptured audience heads home. Capturing the night is a utopian ideal. Those with an inclination rise to the bait bringing us to this exact spot.

Nb other reviewers were present with no doubt a different take.

Album Review: BettySoo - If You Never Go Away

 

www.bettysoo.com

IF YOU NEVER GO AWAY is an apt title for an artist recording their first full length solo album in just over a decade. There was a time when BettySoo was right up there in the upper echelons of the Austin music scene as a solo artist alongside songwriting icons like James McMurtry, Ray Wylie Hubbard, Chris Smither and Alejandro Escovedo. Two tracks into the comeback album and it is though this eminent musician has never been away. Mind you, she has been busy elsewhere. Class oozes from a measured record blending folk and rock with country sensibilities. 

It helps that lead off track ‘What Do You Want From Me Now’ was also a single, not always reflective of an album’s best but in this case clearly reflective of the tone set. Thirteen tracks takes the album into above average content territory, likely on the basis of an artist with a pent up base of songs to share. Although, there is an outlier at the end when a James McMurtry song is covered with the acclaimed veteran duetting on ‘Gulf Road’, a minted version to seal a victorious return. 

BettySoo was highly active as a solo performer between 2005 and 2014. Her Korean American background helped form a narrative distinct in the usual world of the archetypal Texas songwriter where any diversity tended to head in an Hispanic direction. The new album picks up where things were left off before other projects and diversions took over. Across the record, dream components curate a hugely crafted urbane sound. BettySoo commandeers control on a higher plane early on and rarely slips from the pedestal. 

The other single released at the end of June sees the world of paper thin motel walls explored where you can’t help but listen in to the world of others. Such exposures can often ignite songwriting ideas and in this case the process led to ‘Light Up’. A rousing number infiltrated by bouts of brass.

Rather than peaking early, the pairing of two stellar tracks in the first half pave the way for others to shine in the afterglow. ‘Memento’ is the gem of the pack, rolling along in luxurious splendour spilling out many memorable lines including Why would I wanna know about a heart split in two’. Appealingly attractive and beautifully song, this is wonderful gift to fans of Americana music. This leads straight into the organ-laced ‘Lovering’ truly embedding the album’s effect. 

Once in its groove, the pace takes more of a breather in tracks like the sleek and moody ‘Things Are Going to Get Worse’ and the slower feel to ‘What Would I Do’. The album reaches a state of maturity in ‘Human Echo’ and the vocals are expertly exposed in the late order ballad ‘Dreams’. 

Twinning rock guitars with a soulful tinged voice propels IF YOU NEVER GO AWAY to the status of  an album brimming with fruitful songs and housing the qualities of an established songwriting and performing talent. BettySoo wastes not a single inch of the platform given to announce a return. Austin Texas never ceases to churn out mighty music, and will always create a space for its finest masters to resume a specialised trade. 

Album Review: Florence Sommerville - Endless Horizon

 

www.florencesommerville.com

It's late summer 2022 and a young singer-songwriter takes to the stage at Moseley Folk and Arts Festival to open the second stage on Saturday morning. A sound erring more on the country pop side has to possess a certain oomph to catch ears at an event where edgier cultured acts parade a penchant for indie folk and Americana. From a then limited base Florence Sommerville cut a figure of promise as someone striding across invisible boundaries. Via a similar low key outing at last year's Maverick Festival, the same ears sensed an evolving process taking shape. Finding the sweet spot from your inaugural full length recording outing is a tough task. ENDLESS HORIZON is aural proof that early nous was not misguided. The leading songs landed on a precise mark; the final package unwraps as a record swathed in layers of sumptuous songwriting and a style breezing with an acute perception of exploring an horizon with self assured depth. 

There is a supple dexterity to the twelve core songs on the album (some versions of the record contain four bonus acoustic tracks). They take the optimism of engaging pop country and weave in meatier aspects of seasoned maturity where musicianship and lyricism reside on a higher plane. Bookending your record with a pair of prestigious tracks cements an appetising listening interaction. ‘(I’ll Be Your) Best Broken Heart' carves a defiant pose from the lead off position, while closer 'Cut and Run' is a bounding anthem touching rare parts. If you seek one named association, the latter echoes Morgan Wade. Boosting obvious Stateside influences sits in the wishful 'California' thriving at the album's heart, and a key candidate to parade on the podium. 

All the main dozen tracks are original compositions, some solo - others assisted by songwriters such as Gary Burr, Shantell Ogden and Sally Barris. Country stalwart instruments: pedal steel guitar and fiddle, feature from the early stages, hardening the music edge without letting a traditional sound override fresh overtures. The writing enters its most serious zone in 'Molasses' and emerges as an important song addressing mental abuse. Reflections are a little lighter in the catchy 'Fearless' illuminating the early phases with added mandolin. 

One of the singles was the punchy 'Broken Pieces', a number depicting the album's flexible appeal. 'Boots in the Rain' has a title awash with country connotations and is a tenderer offering enacting the album's versatility. There is an added sensitivity to 'Out Where the Love Grows' sharing pride in the mid parts adorned in all the panache of iconic 90s/00s female country music. In some respect this album is an extension to a golden age where ceilings were smashed. This track slips into the nostalgic longing beauty 'Silly Little Things' laced with pop stardust whilst retaining genre integrity. 

'Overton' has the daunting challenge of being nestled among the album's big hitters and thus needs to pedal harder to impress. In the overall listening sphere, it feels at home without attaining the peak. 'Forget the Water' takes us into ballad territory, an area with room for development though well within the capability of a talented artist. 'Love Me Then' completes the delightful dozen easing along with a listenable melody while residing on the album's gentler side.

ENDLESS HORIZON epitomises the zestful vitality of a fresh approach to heritage stacked music. Florence Sommerville pulls off a laudable task of reflecting her true self at a moment in time within a gift awash with listening pleasure. An ability to reach out without compromise makes this an attractive debut. An artist can do no more than conquer the present and this is achieved within the realm of music resonating with open ears. The promise of late summer 2022 has blossomed in mid summer 2025.

Gig Review: Sara Petite - Thimblemill Library, Smethwick. Friday 11th July 2025

 

www.sarapetite.com

Honesty, sincerity and truth; traits that keep the fire of Sara Petite burning. An artist at one with their craft and dedicated to a vision of exploiting the attributes at her disposal. Over the last four years fans in the UK have come to know the music of Sara Petite fairly well. Opportunities rarely afforded in the first decade and half of a lengthy career have been grasped on a realistic scale, tapping into a music community keen to welcome overseas visitors with open arms. Some travelling acts connect through a verbal charisma, others are more at ease with letting the music paint a picture. Sara Petite cultivates a tight script exposing for impact. Musically, a narrow path is followed channelling the raw energy of country, honky tonk and rock 'n' roll. A comfort zone many miles from a Californian home is created as an energised performance illuminates whatever space is commandeered. Rock 'n' roll in an art decor suburban branch library pushes out a border leaving Sara Petite to jump right in and make a mark. 

On the surface, connection between a backdrop of well-stocked book shelves and the music of Sara Petite shares little synergy. Scrape away the top soil and the enlightenment of reading, whether feeding the mind with fiction or reality, helps understand the ideals of Sara Petite and what drives her to shape a career among the travails of everyday life. Denouncing the federal sins of her homeland, while praising the outspoken stance of Taylor Swift and Bruce Springsteen were second half curveballs interluding songs stacked with personal emotion. Beyond a random facade, sits an astute operator set up to frame the next phase of a rewarding career.

Circumstances dictated alterations to the borrowed touring band after three successive UK visits of continuity since 2021. Replacing Joe Coombs and Scott Warman on lead and bass guitar are Thomas Dibb and Mark Lewis, aka the Northern Cowboys. All four familiar faces on the UK Americana scene. Stability came from ever-present drummer Jamie Dawson, and also the cross-excellence in the choices. If anything, the style of Dibb gelled a little more cohesively. This was first noted from a festival set at Maverick the previous weekend and confirmed from a larger sample size during an extended performance at Thimblemill Library. The ultimate winner is Sara Petite as she gets the honour of touring with a fine array of musicians, adept at tweaking the moment in a variety of settings.

Two years on from her latest album, the perpetual crossroads is reached. One new song, 'Jealous Heart' has hit the wires, with a few fellow new ones featuring in shows with minimal fanfare. Whatever format these evolve into will keep followers engaged in the future. However the spine and essence of a Sara Petite show is a raft of road tested favourites stretching the tempo from upbeat revelry to solo reflection. 

Tonight's West Midlands show featured a change of scene with Thimblemill replacing multiple visits to the Kitchen Garden in nearby Birmingham. The evening almost had the feel of two distinct shows. This was due to how the first half ended with the band in finale mode via the excellent 'Promised Land' complete with congratulatory introductions and complimentary exposures. You have been to some shows where the hour stint conveyed in the first half would constitute the whole evening. But more was to come.

Both sets had a sparkling opening song. 'Feeling Like an Angel' is a staple Sara Petite show launcher and is easily lodged in the top echelon of her songs, based on a chorus melody to die for. The second half had a lower key beginning with the band granted an extra three minute rest through a solo rendition of 'Circus Comes to Town'. This moment worked well when strategically placed among the bulk of band songs. 

With seven studio albums under her belt, a rich selection of tunes poses a nice problem. 'Rare Bird', complete with one of the few lengthier introductions, 'Lead the Parade' and 'Little House' were the pick of the bunch before the home straight is set alight with three forever inspiring animated bangers. 'Bringin' Down the Neighbourhood', 'Wasted' and 'The Misfits' define the music of Sara Petite on many levels - staunchly independent, stoically proud and projecting a distinct voice sonically and metaphorically. 

Away from the fine writing of this broadened West Coast artist - Washington state raised, San Diego based - we were served two interesting covers from iconic American trailblazers. Tom Petty's 'Ways To Be Wicked' had the Sara Petite treatment in the first set and 'Land of Hope and Dreams' by Bruce Springsteen filled the encore spot. It was pleasing to hear a different Springsteen track covered than the usual suspects. 

You are never shortchanged when experiencing the music of Sara Petite. She eases people onto her side and induces a sense of belief, coupled with the nous to hone in what she does well. Since becoming a brave post-Covid touring pioneer in September 2021, many a platform has been blessed with the vivacious personality of an impassioned musician. Long may this continue as a guiding light in an uncertain world. An increasing band of UK followers will patiently wait. 

Album Review: Tami Neilson - Neon Cowgirl

www.tamineilson.com

The journey may be a cliche but its narrative-inducing concept lends a hand to make some great music. A conveyor belt of places, people, landscapes and sounds can stir the pot and prod the creative instinct of many an artist. NEON COWGIRL is a moving piece of self-celebration on several levels. The country heart of Music USA has always been Tami Neilson’s calling from a Canadian upbringing to New Zealand settling. A fulfilling road trip of rediscovery is the fuel that powers the sweeping sound of a record echoing so much of a heritage songbook from soaring soulful songs to raucous barroom bangers sprinkled with the odd heartfelt ballad and sincere homage numbers.

Neilson’s vocals crank into gear from the off with ‘Borrow My Boots’ raising the sass level in the vein of many a female country icon. The lavish overtones, complete with lush strings, launches ‘Foolish Heart’ into Orbison territory, pure self-admitted adulation from a young believer baptised in his music. ‘Heartbreak City, USA’ is as an explicit song title as you get and cranks up the twang to ignite even the most placid dancehall. Three songs in and Neilson serves stalwart admirers a treat and seduces the faintest of doubters. The results of a trip to seek out her inner ‘neon cowgirl’ are bustling their way into an array of a gold certified tunes. 

‘Keep On’ retains the big sound while reducing the tempo. Powerhouse vocals are the redeeming feature of a record rarely holding back on production capabilities. Eventually the quintessential country weepy appears with piano being the prime accompaniment to ‘Loneliness of Love’ as we dive deep into the sad song well and re-emerge with refreshed souls amidst the odd tear. The centre point of this eleven track album is ‘Love Someone’ where soulful organ kicks off a Memphis evoking number, full of uplifting backing vocals echoing a bygone age. 

Title track ‘Neon Cowgirl’ leads off the second half and is pure autographical as well as being a state of mind rather than a physical being. Whether a starry eyed kid or raising a family in her adopted home of New Zealand, the guiding light of Nashville and its ‘El Dorado’ status in country music is embedded in the DNA of Tami Neilson. The sense of its worth shivers from the tone and words oozing out of this valued track. This leads into another Orbison-inspired piece as ‘One Less Heart’ cracks the code of bass-backed ballads and carries all the scars of tear-stained tradition. ‘Salvation Mountain’ picks up the pace as your archetypal road song, name checking iconic references while rolling along with absorbing intensity. Probably the album’s deepest dip into rock ’n’ roll, leaving you well-travelled and revitalised. 

The finishing line of this shared life affirming album is nearly reached with the vibrant beat of ‘U-Haul Blues’ blending the exemplar musicianship that feeds throughout with an adept voice equipped with a dexterity shining through in this two and half minute song. The parting shot sees Neilson slip into duet mode featuring JD Mcpherson on ‘You’re Gonna Fall’, a rich offering keeping things fresh right at the end. 

NEON COWGIRL shows Tami Neilson harnessing an outlaw outlook with a conventional sound. It draws on multiple experiences shaping a style flourishing right across the country and Americana spectrum. New Zealand, USA and mainland Europe already embrace her music. UK pickings are still relatively untouched. This album leads the way and calls for a serious tour to back up its eminence. 

Festival Review: Maverick Festival - Easton Farm Park, Suffolk. Friday 4th July to Sunday 6th July 2025

www.maverickfestival.co.uk

Maverick: where hundreds of a pairs of eyes and ears embark on an individual path of music enjoyment. No two journeys are the same as the sights and sounds ferment to personally absorb what time spent at Easton Farm Park means. Festivals are unique and Maverick is no exception as witnessed from many years of winding around the lanes of rural Suffolk to the UK’s most established gathering of what we try to define as ‘Americana’. The printed programme introduction announced its coming of age eighteenth birthday, although Maverick reached a level of maturity a while back, most pertinently in 2020 with a timely You Tube reminder of what we were missing. Never taken for granted, the event powers on with 2025 showing what heights can be achieved with creative curation. 

Maybe the general awareness-weighting of artists booked as a line up entity didn’t match the levels of previous years but extract the impact and quality of performance and you were left with a catalogue of countless memorable moments, high class sets and an invaluable sense of communal excellence. Old favourites cemented their eminence while new favourites lit the fuse. The farm opened its soul and sincere sounds, mainly but not wholly stringed- based, filled the surroundings with opulent pleasure.

Sara Petite 

Away from the Barn, Peacock, Green and Moonshine stages, idiosyncratic novelties formed the backdrop. From yoga with goats to re-located prized pigs, rustic charm added to the natural scent amidst the idle chat of acquaintances meeting up swapping must-see lists and informal just-seen reviews. Some rigidly stick to a pre-researched schedule, others flit between closely located stages sampling as much as possible. The flexible thrive on recommendation, the casual are guided by open ears. Dancers loosen their limbs at every opportunity, singers need no second invite. Clappers quickly find their rhythm, listeners hone in on each lyric. There is no right or wrong way to get the most out of Maverick. Music in its purist form is open to all.

The aftermath of a successful festival is a comedown. An all-encompassing experience of total absorption will only ever be a limited high. Maverick takes you away from the real world into a land of real songs. Reflection leaves a yearning for a repeat; shared reflection provides a guiding light for outsiders to seek or fellow revellers to reminiscence the recent reverie.

These random moments that sealed the deal of Maverick 2025 are as personal as you get. They are a mere snapshot of what made the weekend special. Festivals need a chink of light to infiltrate a music lover’s horizon. The converted will concur; converts in-waiting may heed to the catalyst. Maybe you’re tempted to try it or return one day. 

Toria Woof

Unfazed Improvisation

No amplified sound; no problem. The Weeping Willows pitch up in front of The Green stage crowd on Saturday morning a couple of songs into the opening set and the show went on. Mercifully short before normal resumption but it nailed a willing interaction. 

Lighting the Spark

Style, voice, song craft and demeanour all set Toria Woof apart as a new artist with an enormous impact. The full splendour of Goth Americana from a stylish performer redefined Bolton as an area of West Pennine mystique and was one to seek out further beyond the realm of a festival. 

Conquering the Re-interpretation

Danny George Wilson, Paul Lush and Thomas Collison diligently stripped back the treasures of the latest Champs album on Friday night in the Moonshine replacing synth excellence with acoustic delight. Brave maybe, one-off possibly, evocatively effective definitely. 

Wowed by Development

Six years from first tentatively stepping into UK venues from her Australian home, Nashville-based Imogen Clark played an immensely powerful demonstrative set melding classy pop joviality with the heart and soul of Americana delivery. The Friday Barn performance was over too quick, but more soon, please. 

Touching Your Heart

Elise LeBlanc sensed a receptive space and Maverick proved the ideal setting for this Western Canadian to inspire through honky tonk and a shared personal experience full of guile and wit. Time is sacred at a festival and this Saturday afternoon Barn set wasted not a single second of affective connection. 

Feeding Your Mind

Word got around that Holly Carter’s Joe Hill story set induced a tear with its emotive sadness. Cue a dash to see an evening Moonshine performance with a wider songwriting remit raising the singer-songwriter bar to giving voice to deceased heroes of pursued justice and sharing a candid take on mental health. Enrichment with elegance was the name of the game.

Owning the Space

Maverick loves Sara Petite; Sara Petite loves Maverick. This time the multiple festival returnee had the honour of closing The Green stage on Saturday teatime and wooed all present with an invigorating display of heartfelt punchy music harnessing country sensibilities with rock ’n’ roll verve. 

Raise the Roof

Original music is the heartbeat of Maverick but the odd enhancing cover can add vibrancy to the moment. Cash, Springsteen and Dylan are the usual suspects but not for David Ford and Michele Stodart. Nothing is out of bounds when sung with grace and integrity as the Moonshine Friday crowd lent their voices to join in on ‘Show Me Heaven’. Yep, it worked a treat.

Consummative Ease

You want to frame the moment when music flows from the stage with the utmost relaxing ease. Sarah Jane Scouten is currently finding a rich vein when sharing her original songs in a timeless traditional country style. She grasped the invite to play a part in The Green Note/BPA Live joint birthday celebration on Moonshine Friday with relish. The winners were those in earshot.

Sarah Jane Scouten

Whether making my Maverick cut or impressing the presence of other festival goers, all artists played a part in this successful staging alongside the organisers and dedicated band of operatives from sound engineers to bar servers. A real team effort to reward your investment.

2026 anyone? Choosing Maverick won’t disappoint. Embarking on a 360 mile round journey from the West Midlands to deepest Suffolk each year since 2010 is the testimony. A tear shed in 2020 served to strengthen the resolve. No tears this year, just a contented music fan. 

My Maverick: Joe Martin. Ags Connolly. Imogen Clark. Michele Stodart & David Ford. Sarah Jane Scouten. Danny George Wilson. The Weeping Willows. Dan Webster. Linda McLean & the Awakening. Toria Woof. Elise LeBlanc. Sara Petite. Kelley Mickwee. Two Crows For Comfort. Prinz Grizzley. Casey Neil & Chet Lyster. Gypsy String Revival. Ella Spencer. Baskery + many more causally dipped into.