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. 

Album Review: Reg Meuross - Fire & Dust: A Woody Guthrie story

 

www.regmeuross.com

The match is spot on. Reg Meuross has cultivated a role as a modern protest singer, so the call to reinterpret the life of Woody Guthrie was a smart move. Four covers keep the iconic music of the Dustbowl troubadour in the spotlight; twelve original compositions spin the project on a different axis. Meticulous research combines with astute songwriting to view a life from multiple angles. Voices and events inspire the writing wrapped in a sprightly soundtrack. The accompanying insert essay adds context as a flame of importance gets fanned when needed most. A folk spirit captured and significantly nurtured. 

Album Review: The Mexican Standoff - Hola Texas!

www.themexicanstandoff.com

The spirit of music can take your mind anywhere. Buckle up for a journey from your own home to an exotic border town filled with a joyous fiesta where music moves each sinew and vein. Bi-lingual vocals strip away frontiers as sonic waves send messages of hope, unity and pure fun. The Mexican Standoff achieve this in six vibrant tracks melding the Hispanic cocktail of Texas and California. No wheel reinvented, just an all-female line up tapping into heritage talent carrying an atmospheric style further on its way. Ending with softly spun sublime steel delivers a fitting adios. 

Album Review : Kris Delmhorst - Ghosts in the Garden

 

www.krisdelmhorst.com

From the tempting chimes of 'Summer’s Growing Old', you feel sated in the warm presence of Kris Delmhorst. Eleven acutely crafted songs gently drift around majoring on a variety of tempos. Mature Americana with twists of contemporary folk emanate from a classy singer-songwriter, a frequent curator of pedigree releases. 'Won’t Be Long' punctuates a serene template with resonating energy, while 'Age of Innocence' glitters in melodic gold. Multiple themes are explored in the lyrics. Precedented high standards are met in the stride of an accomplished performer. The music of Kris Delmhorst turns heads. GHOSTS IN THE GARDEN continues the trend. 

Album Review: Sylvie Lewis - Lives Wisely

 

www.facebook.com/sylvielewismusic

LIVES WISELY presents Sylvie Lewis in a fluid and uninhibited mode as she lets her sound freely roam across various landscapes. The sheen comes courtesy of vocals born to softly serenade. Covering John Prine suggests a songwriting radar in the right place and evidence mounts with each listen. Light jazz influences sparkle in the early stages before contemporary folk leanings take the lead, most pleasingly in 'Everything Waits to Begin'. A touch of steel towards the end is also welcome. The deeply personal 'Famous to Me' draws a keen ear as an eloquently desirable record sets a positive tone throughout. 

Album Review: Steve Knightley - Positively Folk Street: Dylan, Carthy and Me

 

www.steveknightley.com

Full marks for the pun or a major groan. Away from the title, you are cordially invited to a Steve Knightley indulgence as he celebrates the work of two of his heroes in a compact and coordinated album. Bob Dylan and Martin Carthy are two of the most documented icons in folk music since its revival. Twelve songs from their canon including some well travelled across popular music get a sparse reworking by an artist himself at the pinnacle of his field. The rotation and pairing work well  to leave a record able to make an impact in select settings. 

www.elm-farm-music.com/positively-folk

Gig Review: An Evening with Mary Chapin Carpenter, Julie Fowlis & Karine Polwart - Birmingham Town Hall Monday 3rd March 2025

The night itself may not have been unique but the tour certainly is. Collaborations between high calibre artists is not unusual with the impact often having an immediate effect. It was Mary Chapin Carpenter's itchy creative urge that first reached out to two of Scotland's most eminent folk artists in the aftermath of the pandemic, namely Julie Fowlis and Karine Polwart. From a launching pad of an inaugural Celtic Connections concert it was systems go as the trio headed off to a secluded place to write the songs set to cement the relationship. Fast forward to the early months of 2025 and the album is now out for wider enjoyment alongside an opportunity for a lucky few to see it played live. 

Birmingham Town Hall hung up the sold out sign as 900 fans headed to this lavish location for a prompt 7:30 start. All three artists are no strangers to the Town Hall and its slightly larger neighbour: the Symphony Hall. Whether through solo shows or part of events such as Transatlantic Sessions and Spell Songs, accrued fanbases are fairly strong with the anticipation of the current format being one to savour. Two standing ovations (pre and post-encore) gave the verdict.

Polwart and Fowlis spaciously flanked Chapin Carpenter at the front of the stage with a four-piece backing band adding the major musical touch. A common trait from songwriter circles of rotating lead vocal songs rolled out with each singer delivering their album contribution alongside a few individual offerings bulking out the show to around an hour fifty. Of course, harmony vocals were in abundance with Mary Chapin Carpenter in particular relishing the opportunity. 

Each artist brought their own distinctive style to the show. As expected, the majority of Julie Fowlis' songs were sung in her trademark Scots Gaelic. Two of these are included on the recently released trio album. The effect of non-English language singing can sometimes split opinion. You cannot dispute the quality here with a celestial aura surrounding a gorgeous sound. If a skeptic, close your eyes and let your mind wander. The lyrics will come alive to however you want them. 

Karine Polwart's vocal style comes across as more grounded than her Scottish compatriot and leaves a lot less to the imagination. Nature, in particular the beauty of birds, is a common theme to her songs and  featured strongly in the chosen pieces. 

Maybe Mary Chapin Carpenter took the central position  due to initiating the project or perhaps an overall greater stature and longer lasting appeal. Straight from her first song, instantly recognisable vocals circulated around the venue's near-faultless sound system, one of the most cultured and measured voices you will hear on the Eastern USA  folk and Americana circuit. From country chart topper to mature influencer, you sense the presence of stardom. 

It was tough to argue against the final song being the evening's finest moment. 'Looking for the Thread' is the title track from what will be likely the first and last album from Mary Chapin Carpenter, Julie Fowlis and Karine Polwart. The thread of the trio's music was definitely found! If this was the finale, it was a fitting send off. Three wonderful artists collaborating to the highest possible standards. Few in Birmingham Town Hall would disagree. 

Gig Review: Carter Sampson Band - Thimblemill Library, Smethwick. Saturday 1st March 2025

 

Carter Sampson indicated how lucky she is to be doing what she does. Likewise those overseas who have enjoyed the music of the self-anointed ‘Queen of Oklahoma’ for over a decade are exceedingly lucky. Meanwhile ‘Lucky’ was the track that closed this Carter Sampson show with a difference. Not only was this a first appearance at Thimblemill Library, a brand new incarnation in the Carter Sampson Band is hitting the UK for the first time.

The band were new to Carter but not to keen observers of the UK Americana scene. The list of artists and bands to benefit from the guitar skills of Joe Coombs, bass playing of Scott Warman and Jamie Dawson’s drumming is getting lengthier by the tour. A credit to their versatility and ability to adapt seamlessly. They brought a renewed dimension to Carter’s songs, impressively from the high bar of their solo eminence. Across two sets, a stylish demeanour shared engaging stories and anecdotes fashioning life in Oklahoma. 

Carter joined a growing band of artists smitten by playing in a library, and Thimblemill with its art deco surroundings is not your average one. Sheepishly, she apologised for a cuss word and impishly surmised at bringing a rock ’n’ roll band. When addressing the audience as “you’re quiet” the response “it’s a library” was script written.

The music of Carter Sampson epitomises the Americana spirit. The vocals are etched with a Dust Bowl drawl and the songs evoke the expanses of the gateway to the West. To enact the presence, Coombs had to bring his country chops, Warman switched between electric and stand up bass to match the mood and Dawson kept time to a variety of tempos. From the time tested opener ‘Wilder Side’ to the blues-infused pre-encore cover ‘Since I Fell for You,' the fruits of numerous albums filled a West Midlands Saturday evening air.

When commenting on the origin of ‘Queen of Oklahoma,' also the title of one of her older songs, the freedom of being whoever you want to be was extolled. Sage words in a world where conforming is de facto. The individuality of Carter Sampson is one trait making her stand out among the throngs of American touring artists trying their luck this side of the pond. The longevity of her presence over here is a testimony to the appeal. 

This Smethwick gig (the Birmingham omission is an accurate and ‘local’ thing) was the second date of the most ambitious Carter Sampson UK tour to date. Why not maximise the availability of a crack band? The irony is the tour promoting a new solo live album. Live at The Blue Door is available at shows and will get a wider digital release later this month. You can savour the band effect in person and take home the equally good solo performance. 

It is pleasing to see Carter Sampson stoically committed to touring the UK. The belief showed in making an unknown Oklahoma City native an album of the year recipient in 2016 has handsomely paid off.