Gig Review: Margo Cilker - The Jericho Tavern, Oxford. Sunday 27th April 2025

www.margocilkermusic.com

Margo Cilker is an exceptional songwriter residing on a higher plane than her peers. She possesses the ability to shape a craft binding words and melodies in a relatable way. In one sense her music embodies the diversity of Americana. There is a strong undercurrent of country, yet through a different prism the eyes and outlook of a folk singer prevail. Many of the songs feel at home with the rock accompaniment of guitars, keys, bass and drums. Strip away all the layers and at the core is a simple singer-songwriter. It's a treat that the artist has an international radar and that influential folks, namely Loose Music, scour scenes such as Portland Oregon to package for UK fans. The latest venture is an overdue extensive tour and a stop off at The Jericho Tavern in Oxford. 

Many West Midlands music fans were smitten with Margo Cilker's wonderful main stage solo performance at Moseley Folk Festival in 2022. Sadly, the area wasn't able to host a tour show this time with Oxford and Nottingham vying for reasonable travelling distance. The slightly worn and road tested upstairs room at The Jericho Tavern won the toss up here with Cilker describing the packed venue as a 'loft'. The stage format has proved fluid in earlier dates but Oxford had the quartet. Her guitarist husband Forrest Van Tuyl made the trek across the pond joining up with UK-based bass player Tom Bailey. There is a definite Loose connection with Joana Serrat opening most shows and the Catalan musician added the fourth dimension on keyboard and supplementary guitar. 

For a competitive and modest outlay, music fans from Oxford and further afield had the pleasure of an absorbing opening set from Joana Serrat of which you were cordially invited to join her on an emotive journey. There was an alluring element to her poise and style threading through the vocals, guitar playing and song themes. Despite a decade long exposure in the UK, a real breakthrough has proved elusive. From a a few feet away, all the attributes are in place to rectify this. A lasting memory from this solo performance was proof you don't always need the lyrics in English to savour a Bruce Springsteen song. 

Margo Cilker took the helm after a short break and chose to share her gifts from three song sources. Debut album POHORYLLE and its follow up VALLEY OF HEART'S DELIGHT launched her recording career with a stylish impact. Key tracks 'Tehachapi', 'Barbed Wire (Belly Crawl)','That River', 'Kevin Johnson'  and 'Flood Plain' highlighted the eminence of the debut. The first of this list was a show peak, while the penultimate one opened a lengthy segment of Margo Cilker solo. The final song was also the encore and maybe a little low key. 

The night's headline set got off to a storming start with 'Lowland Trail', which also opens the latest album, now two year's old. Maybe this track could have been better placed in the final stages as its feel good singalong credentials have a trait to bond with an audience. Therein lies a room for development from a Margo Cilker show. Song placement, enhanced presentation and leaving an audience with a parting gift from its final phase will all launch her onto a higher performing plane. 

'Keep it on a Burner', 'Santa Rosa', and 'Steelhead Trout' all represented the second record with panache. Alas 'I Remember Carolina' didn't make the cut. A shame as that is primed to be a show staple and be the gift regularly implanted in dedicated and casual fans' minds. In his autobiography, Willie Nelson  implied the change of song ownership once out in the wider world. Artists that can cultivate songs for sharing leave a lasting impression.

Five non-Margo Cilker originals seemed a lot on the surface for a seventy-five minute set from someone with an extraordinary writing pedigree. However, they were smart and not invasive. 'Rose of Nowhere' is close at home as from the pen of her husband. Similarly, 'Lady Bug' was an original from her producer Sera Cahoone. During the solo part of the set, she turned her hand to a Pete Fields song 'Invisible Stars' and extolled a love for Neil Young with a version of 'Comes a Time'. Perhaps the pick of the borrowed songs was Fred Eaglesmith's 'Trucker Speed', where the band was in full flow and the moment where Cilker  embraced the audience. 

You can't go wrong with a country waltz and the excellent solo segment unveiled a super song titled 'Pauline'. The background to this song is unknown but it sounded great and seals the country part of Margo Cilker's music identity. Rounding up the Oxford setlist were 'Sound and Fury' and 'Easy to Love You'. A fitting selection to showcase an artist still finding their feet as a touring act in the UK.

The most enticing aspect of Margo Cilker is the space to spectacularly evolve. The songwriting and delivery facet is locked in. Fine adjustments to the overall live experience and bigger places await. Oxford is usually a winning destination for US artists. The upstairs 'loft' of The Jericho Tavern extended the welcome from the dreaming spires and rampant presence of academia. 

Gig Review: Our Man in the Field + Matt Owens - Kitchen Garden, Kings Heath, Birmingham. Thursday 17th April 2025

 

A stormy December night in High Wycombe. Matt Owens battles his way from Bath to play a show. The next day he heads to London for some studio work with Our Man in the Field. Nothing out of the ordinary as he is a mighty fine musician and would enhance any project. Four months later a run of dates is announced with Matt Owens joining Our Man in the Field for an intimate evening of shared music. Two talents - one stage, a show with appeal for those tuned into the world of UK Americana.

Our Man in the Field is the multi-facetted moniker of Alex Ellis. Full band shows crop up where viable, solo shows slot in-between. They/he are a critically acclaimed act accruing favourable press, achieving fan accolade, securing prestigious support slots and working alongside esteemed musicians both side of the Atlantic. Two studio albums have been made with a third one taking shape. The music conveys an evocative experience with tasty grooves explored and exploited. 

Matt Owens matches an undisputed talent with an ethic to organically drive roots music. Days in the spotlight as co-founder of Noah and the Whale are replaced by working passionately to develop the music scene in his home town of Bath and taking time out to record three solo records. He is an A1 collaborator without quite realising the true potential around the country of his outstanding solo work whether as a songwriter or effective band leader. 

This Birmingham show revealed a few developments. It was effectively a stripped back Our Man in the Field two set gig. The entire material was a selection of tracks from the three albums. The two in the bank and a third almost there, although the latter is still short of a few titles. Matt Owens is far more influential on this record than first believed. He also came across as an integral member of the band format of Our Man in the Field. Not only playing on the new songs but striking a chord right across his colleague's back catalogue. Matt Owens was Alex Ellis' side guitarist for the evening. Not a a bad choice for either artist.

Part of the appeal in choosing to attend this gig was highlighted in the ad blurb:

Two of the UK’s most compelling singer-songwriters, Our Man in the Field (Alex Ellis) and Matt Owens (founding member of Noah and The Whale), join forces for a special double-headliner tour. Each night, the pair will perform individual sets showcasing their finest work, followed by a collaborative performance blending their distinctive styles into something truly unforgettable.

Perhaps a touch misleading. As a fan of Matt Owens' solo work, I was looking forward to his part of the song contribution. Sadly, it dawned it wasn't to be. His contribution on guitar was first class but not as expected. Billing it as Our Man in the Field solo joined by Matt Owens on guitar would have been more accurate. Then choices could have been made accordingly.

Regardless of what was served up, communication matters. Professionals need to take ownership of the word. There is no doubt both artists value those committing time and money to support their work. Reflecting and feedback can have its place. The latter is not always forthcoming.

The new album from Our Man in the Field is set to be one of the highlights of 2025. Many post-release shows will do it justice. Matt Owens will continue to spread goodness in our music community. Hopefully, there will be many occasions where he shares his much valued songs.

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

www.jerryleger.com

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

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

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

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

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

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

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

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

Album Review: Taylor Rae - The Void

 www.taylorraemusic.com

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

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

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

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

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

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

Album Review: Grey DeLisle - The Grey Album

 

www.greydelislegriffin.com

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

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

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

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

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

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

 

www.ashleighflynnandtheriveters.com

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

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

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

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

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

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

www.stephanielambring.com

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

Jonny Morgan

Charismatic act

Blending bass and sax

To connect with folks 

Sorrel Nation

Stylish band panache

Adding folk rock aura to

Sultry layered songs

The Marriage

Majestic duo

Sharing music and song

Across the border

Ward Thomas

Sibling harmonies

Presenting bright country pop

To keen open ears

Savannah Gardener and the Recovering Good Girls

Outlaw sass wooing

A party crowd up for a

Friday finale

Hannah Scott

Blissful songwriting 

Enabling emotive themes

To reach other hearts 

Malcolm Charles Moore

Resourceful singer 

Pitching songs to new bodies

Grasping the mantle 

The Rosellys

Finding a roots seam

Through inspired musicianship

And authentic sounds

Jol Rose

Right out of the blocks

Firing folk shots from the stage 

With guitar in hand 

Ren Harvieu and Romeo Stodart

Immersive duo

Exude theatrical vibes

Oozing style and craft

Sarah Jane Scouten

Talented exile

Melting aching country hearts 

With pedal steel tears

Peter Bruntnell

Alt country rocker

Feeding off a top notch band

In time honoured style

Elaine Palmer

Atmospheric roots

From the chimes of twin guitars 

Evokes a sweet mood 

Annie Keating

Band for all seasons

Excelling in unison

Fronted by a star 

Southern Fold

Mid tempo rock band

Purveying Kilkenny roots

Gifting rhythmic guile

The Dreaming Spires

Reviving Spires

The supertruth still not found

But boy they’ve got soul

The Breeze

Introspective band

Jamming around the edges

Leaving folks to seek

Danny and the Champions of the World

Born to headline shows 

Cutting innovative grooves

Champs for a reason

Susannah Clegg

A voice to die for

Showing our future is safe

In capable hands 

Katie Whittaker

Gutsy performer

Using fiddle to great effect

Sharing sincere songs

Roseanne Reid

Quality artist 

Bouncing back with song beauty

One to believe in

Bobby Lee

Music to chill to

Three Players finding their groove

Ambience abound

Trevor Moss & Hannah Lou

Acoustic delight

Two voices melt into one

Moving when solo

Simeon Hammond Dallas

Sharing joyous flair

Shining a powerful light

Leaving an impact

Jerry Leger

Stylish songwriter 

Exploring several themes

Acutely stripped back

Rachel Laven

Lone Star State Ramblin' 

Reclaiming country music

Boots and songs to suit

Orphan Colours

Guitars and sax rock

Homegrown Americana

Soundtrack as night falls

The Autumn Saints

Enigmatic front

Stacked with deep dark southern vibes

As alt as you get

The Hanging Stars

Full on charisma

Jangly roots rock bands for life

Fitting finale

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

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

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

 

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

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

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

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

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

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

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