Gig Review: Britnee Kellogg - Kitchen Garden, Kings Heath, Birmingham. Tuesday 19th August 2025

 

In one world Britnee Kellogg has a quarter of a million Instagram followers, over twenty-million TikTok impressions and a similar number of streams. In a different world she is playing in front of sixteen people at the Kitchen Garden in Birmingham. We live in strange times. The spin is following the dream, piggy backing big names and accessing reality shows. Stardom comes to the few so why not be one of the few. An exit strategy awaits in the guise of a story and a talent honed in alternative directions. When the dust settles Britnee Kellogg will prosper through polishing an innate ability to write meaningful songs in an artistic and connective way, take pride in developing late-learned guitar playing that smoothes the path for the songs to simmer and lean on a natural urge to effortlessly convey a story. Britnee Kellogg is more than a country singer, She epitomises the country song.

Given a solo spotlight of an hour and a quarter, our guest from Washington State plays a full hand. Perching on a stool is a given. A quick slug of whiskey paints a picture. Image flickers for a moment before the candid nature of the performance kicks in. Nashville has always been the call but its inaccessibility appears to stoke the fire. Maybe there is something in the fresh water of the Pacific North-West that also worked for Brandi Carlile and Brandy Clark. The wryness of the latter’s writing threads through Kellogg’s work. She also found a niche when the dust settled. 

You can ask no more as a paying customer than to leave a performance nourished and well-versed in what makes a performer tick. Kellogg’s trio of traits quickly align. Promo imagery and headlines soon fade as you figure out what is in front of you. Peeling away pseudo layers quickly reveals the strengths. You sense the clock is ticking in one aspect, yet a timeless expanse awaits in another. The background is a child at six forming the adult in the presence of Johnny and June. A legacy sealed while the chaos of life is thrown at you. Nuggets spring up to lighten the dark times as Kellogg weaves a multitude of experiences through her songs.

We learn the path leading to the present. One expressed through covers of ‘Angel From Montgomery’, ‘Suds in the Bucket’, ‘Tin Man’ and ‘Heads Carolina, Tails California’. Interpretation abruptly ends and the seasoned songwriter kicks in. ‘Back of My Mind’, ’10 Years Ago’, ‘Love Thy Neighbour’ and ‘She’s Come a Long Way’ help form the picture, all immaculately presented and expertly delivered. This was organic class and proof that the shadows is where it’s at,

Britnee Kellogg and the people of Birmingham may be passing ships in a busy lane. Fleeting acquaintances can be memorable ones when hunches are followed and misty lens are cleared. This August liaison came out of the blue to glisten with ideals from multiple ages. Country music possesses an endearing charm at its core. Britnee Kellogg successfully reaches out from its soulful crevices melding passion, engagement and truth. 

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

 

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

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

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

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

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

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

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

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