Gig Review: Eleanor Dunsdon and Gregor Black - Violets Tea Room, Bridgnorth. Saturday 27th September 2025

How to make the harp cool: team up with a sublime percussionist and explore the endless strands of where ethereal music can take you. Eleanor Dunsdon and Gregor Black exploit a telepathic nuance broadening minds and reaching heights derived by deploying a deft touch. Black exerts a coordinated dexterity ranging the length of the notes from brushed drums, tapped cymbals and applied bodhran. Dunsdon coaxes the harp to purr tunes of orchestral appeal. This is the musical adaption of ‘less is more’. 

From a Glasgow base, the duo inspire and source their tunes from conducive places. Remote parts of western Scotland, the rugged tranquility of the west of Ireland and numerous myths of folklore leave a mark alongside the therapeutic qualities of a calm sea. In full flow, Dunsdon and Black mesmerise an audience guiding a willing mind into meadows of serenity.

These two young artists are at the outset of a hugely promising career. Dunsdon brings harp delicacies to acclaimed folk quartet Ranagri, a useful launching pad to spread the word of the fledgling duo. Live appearances occasionally sprout on the back of Ranagri as seen at Beardy Folk Festival earlier this year. Who’s up for double harp? An increasing number of folk fans who don’t mind a classical and jazz side to their menu. 

This Bridgnorth show was the finale of Shire Folk’s autumn launch where invited guests get the opportunity to play three consecutive evening gigs in venues across the counties of Herefordshire, Worcestershire and Shropshire. Violets Tea Room is another example of a re-imagined live music space. This retro quaint establishment  located at the point where High Town descends to Low Town posted the sold out sign well in advance and locals and short hop travellers alike savoured the pleasure of a mind comforting night of esteemed musicianship. 

Greg and Eleanor at Beardy Folk

While the duo has enough material to sufficiently fill a headline slot, progression would benefit from a more substantial recorded offering. Currently there is only a five-track EP available in digital and physical formats with the promise of a couple of singles in the pipeline. A step-based increase in popularity is more likely than a surge with word of mouth and associated recommendation the existing approach in lieu of wide scale promotion. However talent has its own way of finding the right advocates and that is certainly not short in supply. 

Instrumentals dominated the brace of sets played in Bridgnorth this evening but when utilised, the vocals of Eleanor Dunsdon more than added a mere diversion. The pair shared the informative and affable inter song chat illuminating what drives the desire to make effective and evocative music. By the time the popular ‘The Parting Glass’ closed the performance in the encore slot, a whole new posse of fans warmed to the delights of percussion and harp. 

The Shire Folk ethos of creating opportunity fed perfectly into how the music of Eleanor Dunsdon and Gregor Black will widen its reach. They are an act to keep tabs on, check out what’s available online and seize any opportunities to be nourished by the live show. The Violets Room provided the perfect back drop for elegant music to linger long into the night air of this Shropshire river town.

Album Review: Sorrel Nation - Live and Acoustic (EP)

 

www.sorralnationmusic.com

Sorrel Nation continues to evolve as a resourceful artist seeking ways to build a career and maintain momentum. With the acclaimed debut album Lost En Route now a year old, a twist to breathe new life into a selection of songs emerges in a new short release titled LIVE AND ACOUSTIC EP. In the summer prior to the album release, a similarly short live recording was issued as a sample to what folks could expect once Sorrel and her band hit the road to play many far flung venues. A growing band of fans raved about the live experience, whether in slimmed down duo/trio formats or the distinguished full band. They now have the opportunity to enjoy a representation on record as the 5-track EP sets out to capture the unfiltered interaction of one voice, simple instrumentation and a stellar song born to share.

Three of the songs appeared on the album and there is a broadened dimension listening to the qualities of ‘Old Man’, ‘The Way the Wind Blows’ and ‘Living Free’ in a version closer to their origins than the equally enhancing souped up album presence. These were recorded in pure acoustic mode in a studio in Scotland and you feel every breath, string struck and emotive dive into the lyrics. Joining the re-recorded trio are covers of Welch and Rawling’s ‘North Country’ and Grace Slick’s ‘White Rabbit’, feeling at home alongside the originals and sharing the breadth of influence seeping into Sorrel Nation’s music.

LIVE AND ACOUSTIC has the dual availability of a digital and physical release with the latter a popular addition to the merch table on the latest autumn run of dates alongside CD and vinyl versions of the album. Eventually the time will come to move onto other material to retain a level of development but the joys of Sorrel Nation’s impressive introduction will linger into the winter months. 

Album Review: Janet Devlin - Not My First Emotional Rodeo

 

The clue is in the title as this album is set to undertake a second life. Around a year ago, the colourful and action packed career of Janet Devlin entered a fresh focal stage with an uninhibited stab at creating waves in the malleable world of pop-infused country. Emotional Rodeo was Devlin’s first outing on a label priding itself on parading artists fluctuating around the bounds of convention. OK!Good Records were suitably rewarded with the widespread response to back the artist’s urge not to leave an extended package of songs gathering dust on the table. Hence the birth of a deluxe album with the fourteen tracks from the 2024 record getting a revived airing alongside an additional eight songs Devlin was itching to get out. Customer reaction will always dictate the success of such a venture with the proliferation of the streaming world maybe lending a route for the new songs to seek some light.

The eight new tracks neatly split into two camps with a couple of live versions of popular standards joining half a dozen original songs reflecting the approach Devlin takes to making music. ‘The Gambler’ and ‘I’ll Fly Away’ are not usual bedfellows but then again convention is not in the artist’s DNA. The inclusion backs a highlighted influence that often takes a back seat when Devlin leaps into full-on pop mode. Genre aside, there is a vivacious nature to the music this performer from Northern Ireland makes. Whether launching into beat driven uptempo danceable numbers or adopting a more nuanced approach that potentially expands the horizon, the aim is to be true to a calling. 

The pick of the surplus six (ie not making the 2024 cut) is ‘If He Wanted to He Would’. This punchy mid-tempo effort rises to welcome heights in the right places with occasional blasts of divergent harmonica. In its slipstream is another number controlling its pace with ‘Hooked’ using various analogies to convey an emotion, most notably one from the heart. Of the remainder, ’Houston’ commences with a rootsy structure before exploding into a cloudburst of heady vibes. ‘Candy’ draws on Devlin’s story telling chops  while jumping between pensive verses and an unabated ultra pop chorus. ‘Plastic Pistol’ possesses an eerie sheen with a sharp edge, while ‘Psycho Ex’ covers the well-trodden ground of revenge with Devlin in a particularly mischievous state of mind as a whirl of production excess assumes control.

NOT MY FIRST EMOTIONAL RODEO feeds into the success derived from its first incarnation and maintains Janet Devlin’s relevance in a fast moving landscape. Fresh converts or fertile ears initially engaged elsewhere get the bonus of a bumper offering where stories are told within a haze of popular pleasing sounds. At the heart is an artist calling upon a kaleidoscope of melodic options to spin the plates of entertaining ideals. Janet Devlin fires volleys on multiple terms with her music leaving open paths to continue a buoyant road to self-discovery.

Album Review: Joe Nolan - Luv in the New World

 

www.joenolanmusic.com

Born in Alberta, crafted in LA, the new album from Canadian singer-songwriter Joe Nolan gets to the core of road weary-mile clocking music fuelled by folk, borrowing the blues and wrapped in the cloak of Americana. LUV IN THE NEW WORLD is anchored deep down in the literary gravel fully packed with imagery and feeling. On a good day it’s a trusty companion for a bout of loneliness as Nolan shapes a rough diamond into a palatable piece of sculptured songwriting. The team behind the record illuminates the voice and you are left with a imaginary soundtrack to a fictional road trip from Yukon to the Gulf.

Four of the ten tracks have surfaced as singles including two that set the tone. ‘Wake Up Sleepy Anna’ indulges in a touch of fiction and owns a distinct sound peeling it away from most of its peers. Following this impressive beginning we are led into one of the best killer lyric lines heard all year, ‘too much time to kill in a two star town’. You could view the essence to ‘Too Much Time To Kill’ as an ode to the mundane, although Nolan views it more of a broken down story song in the accompanying notes, hence the beauty of multiple interpretations. ‘Blood on the Pages’ and ‘Half a Tear, Half a Grin’ complete the promotional quartet with the former spiking as a standout piece from early plays. 

It is interesting to see the choice of closing the album with a near 9-minute long song almost twice the length of the rest. ‘When They Call Your Name’ is a lyric laden epic drawing your ears in the opening phase to the lines ‘You took me into your kitchen/And pulled out a razor blade /You pinned it up against my flesh’. This parting shot evolves into B-movie noir essay territory prompting intrigue alongside a sweet sound almost transcending the album. If anything there is implicit randomness to the writing often leaving the listener to navigate their own passage.

There is an axis of association from my listening past. A gruff exterior masking a polished interior is out of the Ryan Bingham playbook, while shades of figurative writing are akin to what Ben Glover has produced. Amongst the dusty template and etched lyrics lies a certain majesty that courted the work of John Fullbright when at his peak. 

The four singles reside in the first half split only by ‘Been Here Before’ where the production yields some strings adding to the aura of a voice delivering songs in ways that move tuned-in ears. ‘Rebound’ opens the second half awash with a fascinating writing structure starting each of almost eight poetic stanzas with the words ‘If I was your’. A curious insertion but in line with a writer’s ploy to tinker and innovate. 

‘Modern Day Melancholy’ is another piece of astute writing on a record where poignant songs collide with a malleable sound taking stock with life’s contemplative moments. ‘Daffodil’ leads you into more tranquil waters representing a softer side to Nolan’s output with oodles of sentiment. On a record where chiseled folk borders moments of soft roadside blues. ‘The Maze’ takes things down low and slow. 

LUV IN THE WORLD lights up a darkened landscape with a resolute presence. Joe Nolan courageously aims high and deals a record inducing emotion in all that crosses its path. 

Album Review: Steady Habits - Deviate

 

www.steadyhabitsmusic.com

An album a long time coming but now the wait is over. At 8 tracks and 32 minutes, DEVIATE may not be the most populous new LP hitting the shelves but small and mighty is a testament to one succinct and on message. A handful of tracks have been comprehensively road tested over the last year through full band Steady Habits shows and those where Sean Duggan conveys the solo format. Whether a festival, support, main or invited slot, the missing jigsaw piece was always a well-stocked merch table, a previous sparse space about to be populated by one of the finest releases of the year, while stocks last.

The talents of Sean Duggan first came to light just under a decade ago in a duo act with his brother Kevin called Loud Mountains, particularly active in the Oxford area. With Kevin returning home to America, Sean turned his attention to fronting a band and the intent morphed into Steady Habits, an exciting live combo with Joe Coombs on lead guitar, Cathy Ife on bass and in-demand drummer Jamie Dawson completing the line up. Essentially the creation is a vehicle for the very personal songs of Duggan and this Brit-based American from New Haven Connecticut has stripped away many layers to tell a candid story awash with acres of stirring musicianship and a sound core to the ideals of Americana. 

Title track ‘Deviate’ is the most identifiable of the gilded eight due to its permanent live set residence and an anthem for those bonded with all aspects of inclusivity and respect. While this ode to celebrating an identity gets many airings in safe and welcoming spaces, you sense an increasing confidence to spread its sincerity wider. The legacy of this true outing is the strength it instills in others to shed any masks of perceived difference. Maybe we are all born to deviate in our own personal way. 

As strong and imposing as this signature song is, it shares a privilege place with seven other compositions that lift each other with their sparkling inclusion. ‘Mess of It All’ is fast becoming a live anthem due to its danceable qualities and like all of Duggan’s lyrical efforts possesses an engaging narrative that hitches you onto the writer’s wavelength. One play of ‘Garden State’ inspires you to learn more of the song’s content shaped by a dark and moody style in the realm of high quality folk rock. The surprise grower of this substantive collection is the final track revealing ‘Novelty’ as a top tune sculptured by a great melody where 60s dream pop slips into a twangy melter. 

The leading single is ‘Stay’ which both rouses and inspires the listener with its certified excellence in a bout of relationship nostalgia. ‘Edge of Changing’ opens the record in passive waters as a sense of the challenge of change is grappled with. Duggan’s evocative vocals and harmonica playing impressively set the scene. This stylish opener slides into the more power driven ‘Archer Street’ as location gives credence to life’s portrayals. ‘Half’ brings the album up to full complement and is slotted into a pivotal position echoing the tone of the production as Duggan once again reflects with mixed emotion as the tempo gently rolls along eased with fine strains of pedal steel.

DEVIATE is an exhibition of glittering guitar work and serious songwriting giving Steady Habits a reassuring & relatable debut styled by articulating personal expression within a solid sound framework. Sean Duggan has a story to tell and its therapeutic qualities freely flow to fill a room. 

Album Review: Chase Rice - Eldora

 

‘I hope the past few years have helped fans see that this is the real me, not the person who was chasing trends or afraid to do something different’. The words of Chase Rice possessing a frank admission that considerable success came with a certain amount of compromise. While the past style was not to everyone’s taste, open ears are tuned in when new routes are explored. On ELDORA, Rice leans heavily on the personal, beginning in a simple stripped back mode before gently building and mindfully excelling. The release settles on a cautiously succinct twelve track collection allowing each song to breathe and generate an identity. 

The themes are trusted fall backs in country music and when tackled with a subtle verve rarely fail to extend a warm hand. The songs reflect the experience of time spent in Eldora Colorado and express a sense of remoteness and reconnection with the basics. Truth in its purest form aligns with meaningful songs, although creativity thrives in bouts of self admitted fiction. The latter comes into play in ‘Circa 1943’ leading to a stellar story song awash with guiding guitar and a refreshing sentiment. An early pick proving a standout from an album that slowly pieces together with multiple listens. 

The album plants its stake in the ground with the pairing of ‘Namin’ Horses’ and title track ‘Eldora’ in the first half. The former catches the ear with a pleasing chorus delivered by a gravelled voice exporting complete control. The latter boasts a twangy guitar opening before emerging as an exhibited juxtaposition of tenderness and grit. Preceding these two flagship numbers are the poignantly nostalgic opener ‘Cowboy Goodbye’ leading into the bouncier ‘Tall Grass’ taking the sound a little off kilter. The album reaches the halfway point with the jaunty beat defining outlier ‘Two Tone Trippin’ hosting a unique sound and an unashamed tongue-in-cheek homage to a cold one in ‘Mr Coors’. Other (better) brands are available. 

The aforementioned ‘Circa 1943’ starts the second half in fine fettle including welcoming one of the characters to Superior Montana to catch his brothers band on a Tuesday night. The story with its twists is well worth listening to. ‘Featuring artists' are credited on three songs with Madeline Edwards joining the revitalised Rice on ‘Country and Western’, a delightful duet bringing two strands together on the dance floor. 

With any blips ironed out, the remaining four tracks ride the crest of this fresh wave. ‘Cottonmouth’ pushes the tempo button applying a rootsy punchy sheen before providing a shield for the excellent ‘Good Side of Gettin’ Older’ to reflectively slip in and roll along with some fine pickin’. ‘One Drink Long’ and ‘Sunsettin’’ are primed to close this significant collection of precision placed songs depicting a perspective and exposing the essence of location and feeling. The latter perfectly captures Rice’s assumed intention using fiddle for effect and closing a chapter with grace and honour. 

Chase Rice tastefully exudes a lifestyle on ELDORA exploring inner feelings and sharing a sense of integrity. Trends are more set than chased on this engaging record, and doing something a little different works to a tee.