Album Review: Odette Michell - The Queen of the Lowlands

www.odettemichell.com

THE QUEEN OF THE LOWLANDS is an accomplished body of working allowing the many sides of Odette Michell's artistry to prosper. Whether you sit back and savour the regality of serene vocals nestling among the finesse of fine musicianship or dive deep into the song content, the album meets the ideals of folk music head on. Archivists in the future won't need to dig so deep to discover the music of today but could be forgiven in confusing the original content here with timeless cuts from the traditional pool. Michell observes tradition is how the songs are constructed, yet all are current compositions blending old stories with contemporary feelings. The result is a robustly compact record awash with layers of enjoyable aspects. 

Four of the ten tracks draw you in straight away from the pure impact of the tune. 'Hourglass' is one that transcends a tight genre convention and could flourish in any setting. The theme of cherishing every moment never loses its powerful potency and when so elegantly presented increases its worth. Michell's vocals are right on the mark and like on other parts of the album strategically ease off to allow a guest to breeze in. Calum Gilligan features here. This tracks slips into the title piece 'The Queen of the Lowlands' boldly presented with a rousing chorus, whilst telling the story of a WW1 Dutch ship famous for transporting and repatriating thousands of US troops to and from Europe. Dazzling fiddle from Chris Leslie adds some vibrancy especially at the end. Violin opens the third of the popular quartet in 'All the Bonny Ships' as a nautical theme (at least in the title) continues in a family oriented post-war reunion. This track closes the record but a lot earlier the magnetic charm of 'St Helen's' holds fort telling a tale of emigration from Ireland to the cotton towns of industrial Lancashire. Can't say you hear too many songs about the modern incarnation of the place, yet we all sway in time to this excellent tale mixing the tough with the touching.

Contributions from luminaries of the folk world lavishly adorn the album starting with the production duties of Stu Hannah from Megson. Expect Ninebarrow, Lukas Drinkwater and Phil Beer among others to pop up. However none smoother than the talents of Odette Michell holding court on her moment in the spotlight.

The readily accessible lyrics are a useful aid alongside some explanation of the song content. This will help with 'Lady Constance', an Irish philanthropist, and bringing things right up to date in 'Waterline' where EU handouts led to the abandonment of many Fleetwood fishing vessels. You are never short on learning something when listening to albums like this. 

Nature plays its part in two songs before one veers off into fictional folk myth. 'The Woodlark and the Fieldfare' soothes the mind with the help of passionate naturalists Ninebarow. 'Flowers' sees the sole co-write with longtime friend Daria Kulesh as the pair inspired from a walk in the woods spin a tale of lauded myth with the usual folk ending via a pistol.

Completing this ten-strong collection are two less obvious songs with 'Requiem' paying tribute to Scottish storyteller Robert Louis Stevenson joined by Vicki Swan on Scottish small pipes, while 'My Love is Like the Rondelet' addresses separated love. The latter reinforces the sparkling vocal eminence of an artist rivalling the best in the business.

QUEEN OF THE LOWLANDS packs a lot into its forty minutes and parts will take a few listens to sink in. The bonus is the quartet that lure you from the off. Odette Michell has made an album rich in astute quality and primed for praise from influential sources. For anyone with even a casual interest in folk music, it is a worthwhile addition to any collection.

Festival Review: Beardy Folk Festival, Hopton Wafers, Shropshire. Friday 13th June to Sunday 15th June 2025

‘Give me a child to the age of seven, and I’ll give you the man’. On its eighth birthday Beardy Folk has found itself. It has matured into a staple event, maximising sustainable parameters and forging an identity. Conquering south-westerly weather patterns is the final frontier and that has nearly been achieved. The fledgling cloak can be cast off and it’s all power to the walled garden, an enchanting place in mid-June. Bring on the ninth staging with double figures approaching, but let’s live in the moment, or at least three days from the recent past.

It began with three women slipping into the mythical entity of one Wise Woman. Visually striking, vocally stunning, the scene was set. It ended in bizarre chaos bar the frenzied ceilidh with a mass of multi-aged folkies running amok to the sounds of Scottish Gaelic meets Jamaican Dub. Words are futile, actions immortal. Finish with An Dannsa Dub and you’ve ripped up the rule book.

Demi Marriner

2025 had its poignant moment when Michele Stodart first took to the acoustic stage with her own band then the main stage with the family band. Michele and The Magic Numbers sat out their June 2024 invite. Hopefully they dreamt what June 2025 was going to be like. It may have kept them going through dark times. In the midst of this joyous moment, 3 Daft Monkeys gave a huge sigh of relief when their set sailed past last year’s three song mark. No mother of all storms this year to curtail things, just a perpetual shower soaking the final throes of Friday music. 

Friday was fun. Eleven sets back-to-back with minimal breaks. Even the last minute substitute for the poorly Maddie Morris took his chance with amusing and risqué gusto. Defining the line up is a hopeless task. We had bi-lingual Welsh bluegrass from Cardiff courtesy of Taff Rapids and confessional songwriting from Camden Town via the heart of Simeon Hammond Dallas. Hen Party frivolity Barnsley-style flowed from the indie pop vibes of Common Culture, but it’s a folk festival, I hear them say. All music is folk music but if you wanted to stay on script, the awesomely capable hands of Hase Waits played a wonderfully inspired traditional set on the acoustic stage while the missing rain crept up outside. Now that’s an act that preserves some meaning to the word ‘genre’.

Sam Kelly

Two more Friday acts gave the day a fulfilling sheen. The rich vocal tones of Cardiff-based singer-songwriter Blino were befitting of any setting. Cover songs pay the bills but originals are from the heart. He gave us a sample of The Boss but Beardy is not really about that. It’s about giving the fine songs of Blino a platform. No covers from Birdbrother, just a trippy forty-five minutes of hypnotic multi-instrumental psychedelia. Two guys; one great sound, and the reason festivals are such interesting and diverse places.

Saturday was fun and dry. A disclaimer as this intrepid music absorber sat out three of the twelve scheduled sets on the two stages. Admittedly, one was Dan the Hat, but who’s to judge a comedic interactive magician. Beardy fans lap him up year after year. Likewise the return of The Bar Steward Sons of Val Doonican was greeted with raucous hilarity. Fast forward to Sunday morning and the quirky humour of Polly Morris was more to my taste. An audience with Steve Tilston had many admirers but for me the format lacks the voyage aura of experiencing live music. However, these three are popular and play a part.

Simeon Hammond Dallas

You couldn’t have a more different perspective to how the day started and ended. A half-hour set from seventeen year old Milly Mason was a delightful way to open things at eleven. She was excellent and way above her years in composure to deliver an engaging set. The style was country-pop and the proof that any good original music with a quality song structure at the heart is welcome at a folk festival. Throwing in a Taylor Swift song recorded before she was born put the age in context. Right at the other end of the spectrum, a spectacular day finished in the pulsating energetic arms of Skinny Lister. A lively band of musicians bringing shanty punk to the masses. The spirit of Shane McGowan lives on. 

The new and familiar juxtaposed right across Beardy Saturday. Six days from seeing Sam Kelly and Honey and the Bear play a Birmingham show, both acts had a main stage billing to kick off their festival seasons. When you have been opening for an exceptional band, you might as well use their talents. Lucy and Jon aka Honey and the Bear invited four members of Kelly’s Lost Boys band to give their Suffolk-focussed folk songs a gentle boost. For Sam Kelly, Beardy was the final date of his Dreamers Dawn album launch tour. The title track is becoming my song of the summer and the heart dropped as he announced the last number without it appearing. Encores are rare at festivals, but then Sam Kelly and The Lost Boys are a special band. Cue an impromptu one and the day was saved. Listening to the song in the place it is meant depict made the moment. Two more familiar names from a more distant past teamed up for a rare show. Banjo-playing maestro Dan Walsh and guitar master Brooks Williams have been seen many times at festivals but never together on the same stage. This set was a treat. An Anglo American feast of blended music. 

Partial familiarity applied to The Ciderhouse Rebellion who hooked up with Irish vocalist Molly Donnery for an exquisite lunchtime main stage set. Both artists have played the festival before and the gelling of voice, accordion and fiddle sent shivers across the Shropshire Hills. A summer feeling that keeps the memories fresh when the cold moves in.

The Cinelli Brothers

The final three artists making Beardy Saturday a success were all new to me. Rachel Hill is equipped with all the attributes for a successful music career and displayed them with panache during an acoustic stage set. A elegant aura surrounded her music in contrast to the offbeat riotous vibes of The Cain Pit bringing a huge slice of East Coast Punk Grass from the lowlands of Norfolk to the comparatively mountainous terrain of the Welsh-English border. They came armed to make an impact and flex the genre elastic band. An all-round entertaining band built for the festival field. The Cinelli Brothers possessed a suave charm and a sound shifting around many gears of blues influence. A hard working band built for the road and loading their vehicle with admiring recruits. They left us with the quote of the weekend ‘we are chin but don’t mind the sin. '

Sunday morning coming down is not on the Beardy agenda. Very few artists can make you laugh and cry at eleven o’clock on a Sunday morning. Polly Morris delivered a comic element brimming with impactful timing putting music in front of the mirror, interspersed with touching songs parading real issues to the fore. Beardy never refrains from inviting artists back even if it’s been a long time. Demi Marriner and Joshua Burnell were both on the inaugural bill in 2018 and much water has passed in the last seven years. This time they both brought full bands and commandeered a main stage slot. Individual styles were nailed with Burnell sailing in the seas of progressive folk rock and Marriner finding fertile soil in country-Americana fields. They depict a rich tapestry and extend their gift to all. Wet the Tea were more recent visitors in 2023 and returned with a fine trio performance pairing delightful sounds and engaging stories. 

Michele Stodart

Foreign Affairs racked my brain to where I had seen them before. A quick search and the link was opening for Larkin Poe at The Glee Club in Birmingham in 2019. Maybe the pandemic altered their course but they are ramping up for a storming return to a wider exposure via a robust blues sound  and a pitch to Americana ears in the UK. The acoustic stage at Beardy Folk was a loud sample.

Festivals are ideal places for bands to diversify into different forms. Before Rangari took to the main stage, two acoustic stage sets featured band members. Firstly, the duo act of Eleanor Dunsdon and Gregor Black, the former on harp and the latter on percussion. The combined sound was gorgeous and just the tonic to set the mind roaming off to dreamy places. There is a definite wild Scottish feel to what they do and it soothes to the core. Before the harp was heard in the band later, it was the turn of Eliza Marshall’s flute to help form an enticing show. This step into the solo world was described as a bold move, but when joined by poetry, guitar and samples of electronica, a gentle feel of inspirational tranquility took hold. Marshall and Dunsdon then become one half of the Ranagri quartet with the other filled by Dónal Rogers and Jordan Murray. The result is an exhilarating blissful sound encompassing stories, magical moods and music touching the souls of attentive audiences. 

The final scheduled act before the mayhem of An Dannsa Dub, and the ceilidh after-party, was another Beardy returnee. Greenman Rising turned the full folk circle taking you back to basics. After a wild ride around a manic musical template some might say normality resumed.

So that's the wrap on Beardy Folk Festival 2025. A treasured event carving its own niche on the circuit. 

2026 anyone? The promise was made.

Gig Review: Niamh Regan - Kitchen Garden, Kings Heath, Birmingham. Thursday 12th June 2025

In a parallel world, Niamh Regan would have been opening for Hothouse Flowers at the Institute. Instead, on this evening of extensive Irish talent in Birmingham, it was a privileged smaller gathering at the Kitchen Garden that savoured the talents of this succinctly evocative singer-songwriter. Imagining the person playing several feet in front of you commanding a bigger stage was an easy task. Such thoughts were instantly smothered by seizing the moment, and Niamh Regan knew how to capture the present. Owning whatever space you commandeer is a winning formula. A quirky aura and alluring sheen puts her qualities in focus and a convivial demeanour channels reams of affectionate songs. The smile was infectious, the voice compelling and a sixth sense wrapped a warm musical blanket around curious ears smitten by the effervescent charm. 

Niamh Regan has an endearing vocal trait.Within each song she slips in, consciously or not, an odd word or line in a spoken form. This is a style reminiscent to Laura Marling, so not a too shabby association. Another name conjured up from the vocals occurred during the best song on the evening. The mind settled on a sound akin to Frazey Ford when ‘Music’ caught the ear in the final throes of the second headline set. 

The show was structured in three parts. Regan’s two sets of 35 and 45 minutes respectively straddled a short break that at the time felt like it broke the flow. The longer second part restored the tempo. The evening began with a half hour support slot from Midlands-based singer-songwriter Jessie Reid. The decision to pair both artists was wise as their left field styles complemented. Reid takes innovative guitar playing to a different plane adding a mesmerising accompaniment to her deep meaning songs. Mutual appreciation between both artists was replicated in the audience. 

Jessie Reid has her own headline show at the Kitchen Garden in September and used this performance to warm up for a summer of festival appearances. Niamh Regan is a far more experienced artist but appears to be a new name for many across the Irish Sea. She commented on this being a first visit to Birmingham and with some luck hopefully won’t be her last. 

Modern music media allows us to mitigate risks on taking chances with new artists. To Niamh Regan’s credit the live version immensely enhances anything experienced through the screen. The benefit of stripping away the lens. Maybe it would have been interesting to learn more of her musical journey during the inter-song chat but this didn’t detract from the benefits of listening to a unique artist in full flow. 

Hothouse Flowers probably thrilled their old fans in the Institute. Niamh Regan did likewise for a new throng a few miles away. Birmingham possesses a rich Irish heritage and a small part of it prospered in Kings Heath this evening. A new potential favourite artist is often just around the corner. 

Album Review: Luke Tuchscherer - Living Through History

 www.luketuchscherer.co.uk

Luke Tuchscherer displays all the attributes of an articulate hard rocker on his latest album. Additionally, Clubhouse Records return to the forefront of talent enablers adding a rare release to their catalogue, and faith in a long term accomplice has been healthily repaid in the shape of a powerfully curated record. LIVING THROUGH HISTORY peels away multiple layers of Tuchscherer's artistry to reveal an album sharp, incisive and stacked with dynamic energy. Whether you feed off guitarists buoyantly stirring the pot or singer-songwriters threading key messages with  meaningful words, this 6th album from an artist now back in the UK will resonate highly.

There was little surprise that the secure partnership with David Banks is firing impressive volleys. The latter is becoming increasingly present as an effective backroom operator and adds many fine touches to this 10-track collection (There is a hidden track on the CD version.) The passion of protest is in fine fettle as a period of living in the United States no doubt added to the impulse of venting anger. Mind you, anywhere in the western world is exposed to the dangers sparking Tuchscherer to fight back in the best way he knows. 

Eight fiery provocative pieces stand alongside two milder offerings. The balance works with 'Living Through History' wasting no time kicking things off in hard hitting mode before the quainter reflective 'Goodbye Bergen Street' harks the perfect poignant closer. Bend your ears one way and hints of late 70s Weller bound along in spirited lyrics and channelled ire. Tilt them in another direction and echoes of Springsteen's storytelling rocking out drift across the waves. Extra-amplified guitars are near-omnipresent though essential vocal clarity eases the listening process. 

Effective protest music is good for the soul. If you align in the same camp as Luke Tuchscherer, line after line will ring loud and true. If you don't, a simple lesson is laid out. The aforementioned opening track sets the scene with a wider look at where the world is and the motives that have taken hold. The second track blasts a hole in the status quo with 'Gonna Be a Reckoning' laying bare a prediction. Tuchscherer's former home gets subtle digs in 'This Was Me' with a slighter lighter sound issuing in a moment of ear comfort. The pace immediately is ramped up in 'You Should Be Ashamed' with the culture war getting a voluminous bashing. The first real tempo change occurs at the midpoint with 'Walls Come Tumbling' pleasing ballad fans.

'Whose Side Are You On' leaves you in no doubt to the song motives with a tenuous nod to Billy Bragg in the title. Here we see a return to some seriously strong rocking out. 'So Sudden Somehow' embraces acres of post-punk vibes as the lyrics get a touch more cryptic. Protest music needs some optimism and 'This World is Worth Saving' offers hope and an possible endgame. 'Our future's not our fate' are wise words. 'Most Days' guides the album towards its deeply personal closer and is a final dose of Luke Tuchscherer digging deep to serve up a sizzling hot rocking out track. 

In a world where 'Americana music' is increasingly difficult to define, you just know that LIVING THROUGH HISTORY will sit right at the heart of it on sentiment alone. Its ears are drawn to what Luke Tuchscherer has to say and will be stoked at how effectively he conveys meaning. The sound is vibrant. and effortlessly bounds along. A truly memorable and meaningful record. 

Gig Review: Sam Kelly and The Lost Boys - Hare and Hounds, Kings Heath, Birmingham. Sunday June 8th 2025

 

The countless projects, collaborations, formats and associations for Sam Kelly over the last decade keep any interested follower busy. Playing a part among the elite and nurturing the grassroots all add to an influential involvement across the folk circuit. Yet there is one set up that keeps things moving forward when the opportunity arises. Sam Kelly and The Lost Boys is an established six-piece combo loaded with exceptional talent. They are core to what drives Sam Kelly on and a chance to plough a fertile furrow with long time collaborator Jamie Francis. The band has thrilled venues and festival fields for years, although a youthful zest implies a long future ahead. On the back of a brand new album under the band name, the mid-point of the launch tour called into Birmingham, a city that has hosted Kelly in many guises including self-named duos, a special one off with Ruth Noteman, guesting with Chris Cleverly and playing a prominent role in the Company of Players. Taking The Lost Boys to the large room in the Hare and Hounds was the boldest move yet, a bigger stage to grace the skills of six fine musicians on fire when in full flow.

Sam Kelly comes across as a grounded musician with the potential to flourish at the summit. The presentation is first class, while the touring operation is as resourceful as you expect at grassroots. Teaming up with highly rated Suffolk coastal duo Honey and the Bear is a wise choice. Not only do you have a superb opening act, but an opportunity for Sam and Jon Hart to exchange sound duties on each others sets. Yes, the sound was excellent on an evening where Honey and the Bear entertained a good audience mix of devotees and newbies for half an hour before the main act trebled their stage time with an absorbing display of multiple-facetted folk music.

DREAMERS DAWN, the fourth full Sam Kelly album (in addition to his duo effort with Ruth Noteman) entered the world on the Friday before this gig. Around half the album made the set list. Maybe they're not all ready for the stage yet or just there are plenty of competing songs from a strong back catalogue. Two tracks from the album opened and closed the set. 'The Bold Privateer' perfectly got things underway just as it does on the record, and a nod to how well the band interprets traditional songs. At the other end of the scale, 'Dreamers Dawn' showcases the writing skills of Kelly and Francis and adopts the role of perfect show closer. With its theme of live music aura, it is built for festivals and the band will get opportunities for it to find larger audiences in the summer. In fact, it could become one of the sounds of the 2025 summer.

It was good to hear a couple of the best tracks off the album live and fresh out of the packet. The banjo-led version of the invigorating 'Gallows Pole', made famous by the legendary Leadbelly, cemented its deep rooted appeal, allowing Francis to thrive in the lead instrument role.  The different tone to 'Till Sleep Comes Calling' resonated strongly upon album listens and its heartfelt theme made for the show's most thoughtful moment. Another top song enhanced by its live version. For a touch of subtle political comment, 'The Old Deceiver' reveals unashamedly where allegiances lie: generally safe ground at folk gigs. 

The other four members of The Lost Boys maintained a hearty tempo led by blasts of fiddle and flute from Toby Shaer and consistently effective melodeon from Archie Churchill-Moss. In the backfield, the percussion from Evan Carson and cello playing of Graham Coe kept a steady beat, with all band members showing a combined flair on a set of polka tunes and segueing an instrumental from THE WISHING TREE album. Coe racked the brains for a few minutes before recalling him from The Jellyman's Daughter, a duo discovered in Edinburgh many years ago.

The most popular song of the evening was a lively version of 'Angeline the Baker', a moment needing no invitation for the crowd to clap and singalong. The band recorded this on 2017's PRETTY PEGGY, an album also feeding the setlist with 'Bonny Lass of Fyvie' and 'The Shining Ship', with the latter setting up the finale. The oldest recorded Lost Boys song turned to was 'The King's Shilling' from the debut album, while THE WISHING TREE was also the source of two pieces subjected to informative introductions. 'Bluebird' takes a more positive stance of the ill-fated speed record attempts of Donald Campbell, while 'Tinker's Poteen' sees Kelly's Irish heritage explored.

An enjoyable evening was enhanced by Jon and Lucy Hart's opening set which included a brave three-part harmony audience participation that worked remarkably well. We have been lacking some Honey and the Bear shows in Midlands, so it was also pleasing to learn of the band's date at the nearby Kitchen Garden in November. A night straight in the diary. 

The song 'Dreamers Dawn' captures the spirit of live music and there is no better feeling when a band comes on stage to play their hearts out. Sam Kelly and The Lost Boys did that and handsomely repaid a Birmingham crowd. Looking forward was a theme of the chat and there are certainly prosperous times ahead for whatever Sam Kelly turns his hand to. Sometimes all you need is a special moment in the present and this occurred at the Hare and Hounds. 

NB Both Sam Kelly and The Lost Boys and Honey and the Bear appear on the main stage at Beardy Folk Festival this Saturday. Look forward to more reflections in the review.

Album Review: Sam Kelly - Dreamers Dawn

 

www.samkelly.com

Sam Kelly has long been viewed as a bridge between the generations, whether making records or contributing to the work of others. He is highly active among his peers in collaborative and production capacities, while in-demand from some of folk’s leading luminaries. The depth, breadth and artistry of DREAMERS DAWN points Kelly in the direction of the summit as a recording artist and you sense great strides accompanying the life of this fine album. 

A great strength of Sam Kelly is to bring a fresh zest to a traditional sound. When keeping the past alive he applies a glossy coating to well-worn pieces. Ultimately, the future is best served by moving the writing process forward and the original numbers here sow seeds for a prosperous one. 

Kelly intermingles four traditional songs with seven new compositions to give the album a wider appeal. The most attractive offering from the old time pool is the banjo-led foot stomper ‘Gallows Pole’. You get the full force of the band at the beginning of the album when a rousing version of ‘The Bold Privateer’ sets a vibrant tone. ‘The Lincolnshire Poacher’ was one of the singles used to promote the record and adds a traditional flavour to the latter stages alongside closer ‘The Dark Eyed Sailor’.

While the placing of the traditional content gives the album an effective structure, the original songs offer a succulent substance. Leading the way with a memorable chorus line is the pivotal-placed ‘Snakes and Sermons’, a song taking a swipe at toxic relationships. Early in the album, title track ‘Dreamers Dawn’ pitches its worth in a swirling style while embracing the all-consuming aura of live music. A song soaring to higher planes with each listen. Among the sizzling gems sits a gentler song creeping up to show the worth of keeping it simple. ’Til Sleep Comes Calling’ sees Kelly expose a sensitive side with an injection of heartfelt soulfulness superbly dealing with the subject of chronic health issues. When the dust settles everything clicks into place with this emotive song.

All the original songs are credited to Kelly and Jamie Francis who are also the co-producers. This tandem proves highly productive alongside a celebrated band of players known collectively as the Lost Boys. The band takes a back seat for the album’s most intimate part when Kelly turns the focus towards the loss of man’s best friend in ‘Skye’, a subject dear to many hearts.

To radically change direction, ‘The Old Deceiver’ tackles the theme of populist nationalism and how it feeds innate fear, while the final two originals are paired together with contrasting titles ‘In the Cold’ and ‘In the Dark’. The writing is a touch abstract and grasping them takes longer than some of the others tracks.

DREAMERS DAWN is an amalgamation of Sam Kelly at his best. A record melding simple listening pleasure with songs sparking rewarding interest and intrigue. Assured production and esteemed musicianship ensure the package glistens with a high quality sheen befitting an artist lodged in the upper echelons of his field. 

Gig Review: Catherine MacLellan and Lucy Farrell - Kitchen Garden, Kings Heath, Birmingham. Wednesday 21st May 2025

Simplicity can often be the face of a more complex constitution. The ease at which experienced musicians convey their work in a live setting may belie the intricacies woven together and harnessed away from the spotlight. Matching melodies with words and many painstaking hours perfecting the art of vocal and instrumental delivery reach a pinpoint when nakedly exposed to a paying crowd. Experiencing live music evokes impressions on multiple senses and when it effortlessly unveils, the ears, eyes and inner feelings feed a sense of satisfaction. A high water table of talent is an essential starting point that counts for nothing without an ability to connect. Sometimes you feel in the right place at the right time. From a left field pool, the collaboration between Catherine MacLellan and Lucy Farrell found the pinnacle of comfort, guile and connection.

The Kitchen Garden was in a middling mood for this show. Neither bursting at the seams nor spaciously quiet, just its attentive self, populated with likeminded folks sensing something special. Similarities and differences floated from the performing space complementing and blending when needed. One Brit and one Canadian bound by a residence in the latter’s homeland alongside a love of folk music moulded by a nation’s identity. Lucy Farrell, steeped in the English folk tradition and a much admired participant on the scene for many years in several guises. Catherine MacLellan, born into folk royalty and using every inch of a precious gift to craft a gilded canon of songs. The former interprets and writes; the latter writes and interprets.

For the uninitiated, bios were left to be sourced elsewhere. Farrell and MacLellan dropped snippets of who they are in between a raft of moving songs. Family was a recurring link. It was the driver moving Farrell thousands of miles west to set up a new base, although modern life can render a world smaller. It formed songs like ‘Edwin Lullaby’ inspired by her son. MacLellan used the link to introduce ‘Tell Me Luella’ about her grandparents and a later number based on ‘re-friending’ a sister. Whatever song the pair introduced, the benchmark soared in the first set with a version of the Canadian classic ‘Snowbird’ written by Gene MacLellan, whose work lives on in his daughter’s voice.

To balance the Canadian perspective, which also closed the show in the shape of Kate & Anna McGarrigle’s ‘(Talk to Me Of) Mendocino’, Farrell’s impromptu invitation to sing an unaccompanied version of Molly Drake’s ‘Happiness’ drooled with class and pristine English folk heritage. This act of vocal excellence added to the exquisite fiddle and intrinsic tenor guitar playing from an artist best known in recent years as a member of the Furrow Collective. Solo seems to be the current focus, although we were tantalisingly teased with the prospect of a duo album. Evidence leant further with the pair hastily recording a tour only EP.

Recordings have been relatively scarce from Catherine MacLellan in recent times. COYOTE was her last album in 2019 and prior to that it was 2014 for the highly acclaimed THE RAVEN’S SUN. Interspersed between these two was a reworking of some of her father’s songs. However this is the second UK visit in just over a year showing a commitment to travel after a patchy period. Maybe something is on the horizon.

The show’s momentum was reflected in a longer second than first half alongside the evening passing through too quickly. Three weeks into a four-week UK tour had obviously aided the gelling process so for once a benefit of not seeing a jet lagged opening date from what was still a new performing format for the pair. The venture may have been left field on the surface but the product was right at the heart of what makes live music special. Two obviously talented musicians showing where working together can lead. The destination this evening was right into an intimate venue’s sweet spot. 

Gig Review: Ellie Gowers - Hare & Hounds, Kings Heath, Birmingham. Wednesday 14th May 2025

 www.elliegowers.com

Capturing the moment can be the highest accolade paid to any live performance. Your mind doesn't long for past glories or wander into a world of 'what ifs'. Ellie Gowers has been on a musical journey for a few years and will continue to have a flourishing one long into the future. The trio format serves her well alongside being the vocal front of Filkin's Ensemble and one third of acclaimed folk outfit The Magpies. The Hare and Hounds Birmingham on one May night was all about the solo side. Pitch perfect sound, exquisitely paced set, alluring aura and an audience at one. Take this evening as a mutual gift. A show to treasure on many fronts and a moment truly captured. 

Heads were turned when this show was announced six months ago. The Kitchen Garden across the road would have seemed the logical fit especially if the plan was to play solo. Her previous show there had been a near sell out and the style of music suits the venue from numerous perspectives. The bold move paid off with a turnout likely exceeding the capacity of the neighbour. Extra stage space and additional lighting enhanced the impact with a mix of seats and standing accommodating all. The trump card was played late in the day when Mia Kelly was invited to open the show.

On numerous occasions over the last twelve months, the Canadian-native has graced Midlands stages in a shared or support capacity. Such is the growth of interest and strength of impact, a headline Mia Kelly tour is surely on its way. She has it all: infectious personality, engaging stories and songs that propel forward packing a punch. There is also a growing catalogue to support longer sets than the generous forty-minutes afforded to warm up a Hare and Hounds crowd. Two absolute gems from the latest album lit up the room. The country credentials of 'Meaning Well' were up there with the best and 'South Went the Bird' is a glorious metaphor of a break up. Brilliant writing and likewise delivery.

How do you follow a support artist who takes warm up to the brink? Stand up Ellie Gowers who hit the right note from the start and continued to mesmerise for the next hour and a bit. This Warwickshire artist now calling the vicinity of the venue her home grasped the motivation to make this evening special, with the ability to extend to any. The back catalogue is limited to one full album, but EPs and singles bulk it enough at the moment with the option of a most glorious cover interpretation. Many attempt Joni Mitchell's 'California'; few align with its vocal complexities. 

The voice breadth is one aspect of Ellie Gowers' armoury, songwriting is another. The bulk of the set came from 2022's DWELLING BY THE WEIR,  a record packed with astute observational writing. The title track set the ball rolling and the inevitable encore was the reserve for a crowd assisted version of 'Woman of the Waterways'. More evidence of the folk credentials came in the historical significance of 'Ribbon Weaver' with its Coventry heritage and a passionate response in 'A Letter to the Dead Husband of Mary Ball'. The latter was stunningly sang a cappella creating a jaw dropping moment. 

While folk is driving multiple lanes of the Ellie Gowers' career, the revelation of 'I Can Be Right For You' from the latest EP is an elegant dip into pop. Classy with a glance to future style diversity. Also shared from 2024's YOU, THE PASSENGER were 'A Moment' and 'Testing the Water'. Away from albums and EPs, 'The Stars are Ours' was put out in multiple single versions and the countryside side passion comes across in a live version inviting  audience participation. 

Although this gig wholly owned the present, a brief moment took the mind back to a festival field in 2020. Yes, one did run that year - Beardy Folk with the infamous Beardy bubbles. A young solo artist by the name of Ellie Gowers caught the attention. Sometimes your instincts are spot on. 

Gig Review: Abigail Lapell + Steph Cameron - Kitchen Garden, Kings Heath, Birmingham. Sunday 11th May 2025

 

Curiosity around this gig started when it was first listed. Two random artists joining forces with little exposure in the UK. Both had crossed my path with a significant gap in between. Steph Cameron was the better known via her 2017 album which had some UK press and few low key dates on a short tour. We quickly learned during the show a reason for the lengthy break between prominent activity. Awareness of Abigail Lapell came through some indirect press activity in North America around her 2024 album. Research led to an extensive back catalogue, although scant awareness of activity over here. A couple of days before the gig, the opening show of a three-week European tour, ticket sales approached a sell out. The Kitchen Garden audience is not noted for turning out in large numbers for two first time Canadian visitors with minor presence. There was definitely something in the water when a large chunk put their hands up when asked who was here for the first time. Not to worry, the Kitchen can be a magical place when packed with its intimate aura. So the scene was set for Abigail Lapell and Steph Cameron to have a fulfilling Birmingham debut.

It was intriguing to see what the format would be for two individual artists. Separate sets either side of a break was logical with each owning the space telling their stories to a fair number of fresh ears. To an extent this was the case with some shared additions. Apart from partners and young kids, the touring party was enhanced by a drummer and bassist who remained in active post throughout the duration of the show. 

Abigail Lapell was first up with Steph Cameron joining her on backing vocals and occasional guitar. The style of the Toronto-native resides on the quirky side of the folk radar with some similarity to compatriot Jolie Holland, who commands a substantial following in the UK. While the songs can sometimes take a while to cut through, the stage presence was warm and connective with most of the material coming from the recent album. Bouts of inventive percussion enhanced the overall sound and you felt a lot more versed in the music of Abigail Lapell after a 50-minute exposure.

Steph Cameron's brand of folk music is of greater orthodox than her touring partner. The Saskatoon-native drew a lot of influence from the 60s revival scene, both Greenwich Village and those of an English persuasion. This was evident in the 2017 album, though its follow up had just been released with raising a family explaining the seven-year wait. Similarly to the first set, all four musicians were on stage with Abigail Lapell applying a touch of faint electric guitar alongside backing vocals. At the end of the set we had a feel for the new music of Steph  Cameron without knowing too much about what defines the musical side of her persona. 

The evening would have been more rewarding with a less crowded stage and each artist stripping their sound to befit the tight surroundings as understandably there wasn't a lot of band chemistry. With drums and bass in the room, a dedicated electric guitarist would have improved the Steph Cameron experience.  The vocals were also a little quiet though volume moved in the right direction in the latter stages. The second set also appeared a little hurried despite a near identical running time.

Birmingham gave Abigail Lapell and Steph Cameron a slice of the grassroots music scene at its most vibrant. They are obviously talented artists in their own right, both in songwriting and presentation. The evening set the tone for three other UK dates before the team head to a more extensive run of dates on the continent. It will be interesting to see how they build on this visit and take advantage of an impressive starting point in this phase of their musical careers. 

Gig Review: Sorrel Nation - Thimblemill Library, Smethwick. Friday 9th May 2025

 

www.sorrelnationmusic.com

Sometimes cracking the gig code can be a straightforward process. Bring your 'A' game, cover the basics and connect with the audience. Mutual respect can go a long way to firming up a base at the grassroots. Sorrel Nation starts from the high water mark of a sublime voice, expressive songwriter and smart band arranger, yet so many other aspects of her approach are key to a growing presence on multiple UK music scenes. Whether based in her native home county of Kent or living a rambling life on the road, an aura of experience coats a stage craft piercing new areas with each tour. Spring 2025 evolves around the launch of the vinyl format of the debut album LOST EN ROUTE and an inaugural show in the West Midlands yielded more converts to a growing band. Making inroads in a crowded independent pool of folk-infused contemporary acts can be demanding and littered with obstacles. Promising signs of Sorrel Nation establishing a foothold were laid bare in Thimblemill Library with a scope for signifiant development echoing from an accomplished performance.

The nearest previous show to the Birmingham area was last October when the album launch tour called into Leamington Spa. The Temperance was ideal for the trio format which proved an excellent live introduction. A wider library stage enabled the six-piece to flourish and the entirety of the album had the benefit from multi-layered support. The two evenings had the common theme of inviting Droitwich-based singer-songwriter Clare Portman to open and her set laid the groundwork for a rewarding evening of music. The key moment was a debut live airing of 'Love is the Way' from a brand new EP with the piano accompaniment superbly coaxing an emotive and sensitive song into life. 

The six piece format with Sorrel joined by Sam Anderson (guitar), Theo Holder (cello), Ri Baroche (keyboards) , Simon Browne (drums) and Stef Happie (bass) had an early season festival outing at Ramblin' Roots last month and this whetted the appetite for an extended headline gig. The band shaped up well in a venue more used to slimmer formats. Anderson's guitar skills will flourish in any setting, while the twin frontline sounds of keys and cello came across well adding sonic vibes to what is an evocative library backdrop. Backfield rhythm is always understated yet never under estimated creating the perfect tempo. At the heart is a front person using an acoustic guitar and blissful voice to paint a collage of visual images and inner feelings. 

A set time pushing the seventy-minute mark saw the entirety of LOST EN ROUTE played, opening with 'Old Man' and surprisingly peaking with 'Wild Solitude'. Hearing album tracks spring to prominence on stage is not uncommon and unseating the initial standout 'Crazy For You' is no mean feat, even if only for one night. Each song had a meaningful introduction shedding light on what drives the creative passion of Sorrel Nation. An outdoor existence, past relationships and wild ideals all jostle for your headspace as each track added the blocks of effect. 

Two covers tilted the show towards influences. Many artists cite and reinterpret the early work of Gillian Welch. Tonight we enjoyed 'North Country' from the 2024 record ending a lengthy hiatus. On the surface, adding to a mountain of 'Who Knows Where the Time Goes' versions is brave requiring a deft interpretation not to sink. The encore moment here floated with splendour. 

The ditching of guitar for a drift into Sandy Denny territory revealed a different aspect of Sorrel Nation's artistry. The vocals took on a fresh identity with food for thought to where they may be taken with further advances into this field of delivery. Likewise development could also come from mixing up the band role. More Anderson guitar solos would add a vibrancy, while filtering in the odd Sorrel stage solo moment could strengthen a more candid aspect. With new material likely to emerge before too long, refreshing the stage show could help propel a burgeoning career.

An immersive glow surrounds the work of Sorrel Nation whether on record or live. Engagement is fruitful and you sense an artist with a definitive upward trajectory. A template for connection is something to be nurtured. An amalgamation of simple traits and accumulative talent is serving her well. 

Gig Review: Brown Horse - Hare and Hounds, Kings Heath, Birmingham. Monday 5th May 2025

 

Even with a vague interest in the indie-Americana-rock scene, the elevation of Brown Horse has been noticeable. A distinct style has piqued interest in those wrapped up in the pioneers of alt-country where the tightness of a rock band coalesced around upfront keys and pedal steel bringing sweeping tunes and themes to the fore. On the back of favourable press and increased awareness, the six-piece outfit from Norwich have been ultra active. Numerous festival slots, tours covering large parts of the UK crossing over into the continent and a pair of full length studio albums lay out the activity. Appearances at Moseley Folk Festival and a previous gig at the Hare & Hounds have helped grow a Birmingham base, and the small room in the Kings Heath venue was packed as the band returned to the city to close the latest tour. 

There is a lot to admire in how Brown Horse come across despite far from the finished article. The set up shines through shared songwriting, instrument swapping and musical interaction. You are witnessing a fully integrated band embedding a captivating sound, while finely crafting a positive impression. All was evident during a set packed with good vibes, yet a little light in time. Bands on the rise should be looking at upping their set up time offer from 55 minutes and when taking a support slot into account not falling short of an hour and half arbitrary benchmark for folks heading out for an evening’s live music. 

The current guise of Brown Horse have only been active for a couple of years. They are trying to enact a mature style requiring a lot longer to come to fruition. Illuminated signs signal a prosperous future with all six band members engaged in deep thought how to cultivate a complete sound. Charisma exists in how the music infills a room, small ones at the moment with potential to grow. 

A lot of pieces need to come together for Brown Horse to thrive live. Rotating keys and accordion, predominate pedal steel, a guitar trio of bass, electric and acoustic continually alter the profile. This can be a challenge to some sound systems. Not all consistently aligned in the Hare and Hounds and it was tough at times to decipher the vocals. Imperfections are part of the live experience and the substance of Brown Horse’s overall demeanour can carry a performance. 

There was a marked difference in the ease of acceptance for Brown Horse albums. RESERVOIR, the 2024 debut, required time to build an impact, while ALL THE RIGHT WEAKNESSES, now a month old, revealed its strengths a lot quicker. Reasons behind the upward trajectory were laid out in the highlights from the Birmingham set. Possessing a banner track lavishly leaving an imprint on a listener’s mind is a gem worth shining and perpetually using. ‘Corduroy Couch’ could be Brown Horse’s calling card, capable of swooning a small venue gathering and likewise bigger stages that await. Hot on its heel in Birmingham was the bass heavy opening to ‘Radio Free Bolinas’, a pair of standout moments. Other tracks from the new album included were ‘Verna Bloom’, ‘Wisteria Vine’, ‘Dog Rose’ and ‘Wipers’. Definitely an album to stick around for the long term.

Less of RESERVOIR had an airing. ‘Stealing Horses’ remains an intriguing song, while ‘Shoot Back’ proved a valuable encore addition as it ensured the gig ended on a high. There was even a new song introduced. With back-to-back albums out in little over a year, it may be wise to nurture their live presence rather than adding to a crowded place. 

Oli Cook and his band opened the evening with a 30-minute slot. They proved a wise choice and good fit on a Brown Horse bill. A tight band and one exceptional guitar solo gave the performance a positive glow. 

Reasons behind Brown Horse being picked up by Loose Music and the rush to praise are evident. They shape up well for refined ears and are an easy sell to certain quarters. The challenge is to broaden the appeal. Sharpening the live presentation and honing in on key strengths will yield results. They are a band worth watching out for and add value to any live music choice. Expect to have to give a little as a keen listener and nuggets will begin to sparkle. 

Gig Review: Andrew Combs + Dan Whitehouse - Kitchen Garden, Kings Heath, Birmingham. Wednesday 30th April 2025

Connection can create opportunities with positive outcomes. The chance meeting during a radio interview led to one of the most rewarding musical evenings of the year so far. The night belonged to Andrew Combs, yet like on so many occasions in recent years Dan Whitehouse co-opted the role of enabler. This short tour for the Nashville-based Combs pivoting around a slot at Kilkenny Roots Festival was already in place with an opening night in Birmingham prior to the new arrangement. Now the pair are working together, both on the road and on stage during parts of the short run, and what better place to tap into local knowledge than Whitehouse's own West Midlands. 

A packed Kitchen Garden with many faces from the Dan Whitehouse posse created an ideal environment for the music of Andrew Combs to thrive. Attentive and respectful throughout, wise heads may have been taking a chance on a new artist but when on top form there was zero chance of our American visitor not impressing with an outstanding array of songs. While Combs is a long established US touring artist with a strong foothold in Americana communities, Birmingham has proved a tougher nut to crack. His solo debut at the Hare and Hounds in 2014 didn't prove a launching pad, although there was an improved response to a Glee Club performance three years later. There, the interaction stalled. Some recounted an earlier visit with Caitlin Rose. I saw her play the Glee Club in 2010 and 2011 with any memory of him playing erased. Bringing things up to date, the 2025 show will linger long.

The current phase of Andrew Combs' career sees him settled, philosophical and in a good place. Music appears to be on his terms highlighted by the very personal latest album DREAM PICTURES. He is a proud representative of a Nashville community that swims against the tide, although he can make better country music than most when applied. Who can forget that surreal day in 2016 when he shared the O2 Arena stage with Eric Church, Chris Stapleton and Kacey Musgraves. Not a bad day for anyone with a foot in country and Americana camps. Nine years later, it is solo with a self-described 'band in a box' presenting the music in a different light.

Dan Whitehouse played a thirty minute opening set. A throwback role to somebody who earned his crust this way on the Midlands music circuit - shows with Simone Felice and Terri Clark spring to mind. Now the focus is on flagship gigs like an upcoming one at the Birmingham Conservatoire in June. With a limited window to appeal to Andrew Combs' fans, a representation of the recent past was chosen with songs from the GLASS AGE and VOICES FROM THE CONES albums featuring on both keyboard and guitar. You were adding considerably to your investment with the quality on show as Whitehouse absolutely nails the art of presentation. You could also see why the pair developed a mutual respect when crossing paths on the Brum Radio show. They both carefully craft songs with skill and guile. 

This conducive spotlight on Andrew Combs brought the best out of his songs. We were informed that the format may be unique as we were effectively getting the demo versions of songs. Basically, raw on guitar with drum beats and bass parts electronically preparing for studio adaption. As a spectacle it worked, ably assisted by a relaxed Combs chatting in his own reserved way. The insight was as candid as any other time witnessing a show. Songs spanning a pair of sets adding to a stacked evening of music showcased the breadth of a career.

 The title track off the latest record 'Dream Pictures' segued into the opening piece and the ever evocative 'Too Stoned to Cry' represented a young Andrew Combs naively thinking Music Row wanted real country music. Whatever song was presented, the clarity of a stunning structure shone through. Familiar ones like 'Hazel', 'Dirty Rain' and 'Rose Coloured Blue' reached out to touch the audience. Newer ones like 'Eventide' and 'The Sea in Me' invite you more into the mind of Andrew Combs. My two favourites from the evening were 'Strange Bird' written for his wife and the etched classic 'Rainy Day Song'. In recent times I've banged on about artists having a live staple song that is perpetually gifted to audiences. The latter will always be the 'Andrew Combs calling card'. 

Inevitably, the pair got together for the finale with the addition of deftly played electric guitar lighting up a couple of songs including 'Silk Flowers'. We were now in added value territory. The most pleasing aspect was Andrew Combs had nailed Birmingham. A patient 15 year wait for some.

Full credit to Dan Whitehouse for stepping in to enhance an evening that would have been stellar without his input. He helped bring the best out of Andrew Combs who thrived in the setting. Throw in a Desi pub experience and bostin' signs in Tipton on the 'New Road', and there was a little bit of the Black Country for the visitor to take with him on his travels. A night with surprises, yet echoing the magic of the stellar song.