Gig Review: Suzanne Vega + Katherine Priddy - Symphony Hall, Birmingham. Friday 31st October 2025

There is different lens through which to view artists like Suzanne Vega. One sees a musician embedded in a nostalgic memory where timeless songs act as an anchor in a changing world. Another, bonds with a singer-songwriter seeking to move the dial forward with new material. Confessions of anxiety were laid bare in the early throes of this show mindful that a near sold out Symphony Hall audience may have various expectations. Ultimately unfazed, the experienced Vega found a balanced poise to steer a performance to a fulfilling conclusion. 

 

An assured stage craft defined this acclaimed New Yorker flanked by the impressive Gerry Leonard on guitar and the evocative cellist Stephanie Winters. Together the trio generated sufficient verve to channel the venue’s celestial acoustics. Some parts rocked in a mild way; others chilled with a gentler persuasion. Whatever the sonic mood, Vega injected insightful stories through her distinct north east American brogue. Strip away the million sellers and a quintessential New York folk singer picks away, one born in coffee houses and schooled on Dylan, Cohen and Reed. 

 

The comfort zone of older material eased the set along in the early stages. In Vega’s implicated words "warming people up for a leap into the unknown." When songs off the new album were unveiled, the show adopted an alternative sheen. This peer into Suzanne Vega circa 2025 reveals an artist eager to find a fresh voice and it gave the overall set a sense of renewed stimuli. Album title track ‘Flying with Angels’ kicked off a consecutive trio of newbies, although it was overshadowed by the pair of excellent songs that followed. The feisty ‘Speakers Corner’ was introduced as a much-needed protest song in these troubled times and this led into the ear catching ‘Chambermaid’ accompanied by the story of being inspired by a character in the Bob Dylan song ‘I Want You’. 

 

There were more new songs to come later after the setting went back in time culminating in a fitting pre-encore finale. Prior to the two songs many likely came to hear, the trio turned their hand to ‘I Never Wear White’ in which Vega expressed an identity. The strength of the two signature songs was undeniable. ‘Luka’ was introduced as a dedication and took minds back to a place and time. ‘Tom’s Diner’ has many incarnations and a moderately mellow band driven one here saw Vega turn on the performing charm to vocally strut across the stage as the crowd echoed its unmistakable catchy wordless tune. 

 

A slightly unusual encore followed beginning with a cover of ‘Walk on the Wild Side’ adding a further New York flavour and ending with two new songs successfully attempting to bring things up to date. The real impact of this show was the first song perfecting the art of the introduction at 8:30 and a gentle farewell piece 100 minutes later. ‘Marlene on the Wall’ introduced many to the music of Suzanne Vega in 1985 and likewise splendidly set an ideal scene 40 years later. ‘Galway’ from the new album importantly heralded a songwriter still impassioned to pursue a song writing calling sending folks off into a Halloween Friday night boisterous city centre. 

 

On a local note, there was no happier person in the Symphony Hall than hometown favourite Katherine Priddy. Opening for all of Suzanne Vega’s UK shows was a privilege with a special place in her heart reserved for a prestigious spot in her home city’s most lavish venue. Accompanied by George Boomsma on guitar, she wooed those electing to take their seats early with a faultless display of softly spun folk music. One day she will own the evening in the Symphony Hall but for now five songs including the new single ‘Matches’ from an upcoming third album and a lengthy interval merch queue will suffice.

 

The old and the new gracefully collided on a major platform. Suzanne Vega celebrated the past and a rejuvenated present. Katherine Priddy signalled a bright future.

Gig Review: Honey and the Bear - Kitchen Garden, Kings Heath, Birmingham. Monday 3rd November 2025

 

Attending a Honey & the Bear show is a guided tour across the expanses of rural and coastal Suffolk, peering at its wildlife and landscape, listening to local tales and absorbing characters buried deep in its folklore. If an ambassadorial candidate was sought, Lucy and Jon Hart are at your service. A compendium of stories and anecdotes sit alongside a melange of instrumentation coaxed to fruition through a couple of entwined voices. This is folk music from the regions at its finest, and the Kitchen Garden Cafe is the perfect setting to deliver to the people. 

 

This was the first Honey & the Bear headline gig in Birmingham, though not the first appearance. Back in June they opened for Sam Kelly and the Lost Boys at the nearby Hare and Hounds and the effects of that performance rippled through a return to the area. A further link to that evening was inviting Lost Boys member Toby Shaer to join them and turn Honey & the Bear into a trio for the Kitchen Garden date.

 

If your ears are tuned into the music and your mind the stories, the eyes can’t help but fixate on the array of instruments on display and their rotational exchange. It must have been a Kitchen Garden record for a trio. Shaer’s contribution was a vital addition with whistles, flutes and fiddles in constant use. This in-demand musician boosts any combo he joins and lit up an exhibition of songs filling the acoustic charm of this brick-walled wood-ceilinged intimate venue. The Harts are an exemplar of multi-musicianship swapping double bass and multiple guitars while frequently turning to banjo, ukulele and bouzouki. Throw in Lucy’s improvised foot percussion and the sound exceeded the sum of the core. 

 

Honey & the Bear is a decade into their existence as a working duo, although some solo material pre-dates this. They are the architects of three albums with a fourth set for release in April 2026. Songs from multiple sources filled a brace of sets each exceeding the standard forty-five minutes especially the second when you sensed a band in full flow. Perhaps touring not being an extensive part of their focus buoyed them to make the most of this opportunity especially with their talented friend on board. 

 

From a setlist of seventeen songs, the outlier was a cover of ‘Who Knows Where the Time Goes’. A fairly standard show closer on the circuit but Lucy’s beautiful vocals did the song justice. An insight into material not on the three existing albums came in ‘Close to the Edge’ and ‘Place Like My Home’. The former featured Toby Shaer on whistle and the latter is emerging as a live participation favourite. Maybe a taster of what to expect in 2026.

 

The most popular album serving the setlist was 2019s Made in the Aker with the energetically played ‘Wristburner’ a memorable inclusion. The evening opened with the excellent ‘3 Miles Out’ lifted off the second album Journey Through The Roke, a record that also contributed one of the many story songs in ‘Freddie Cooper’ named after an Aldeburgh lifeboat. The latest record Away Beyond the Fret was thinly represented, though ‘Dear Grandmother’ was significantly shared at the start of the second set and ‘Finn’s Jig’ was one of the musical highlights of the evening.

 

Lucy and Jon Hart fashion a common bond with audiences. For many in attendance this was the longest engagement with Honey & the Bear in a live setting, sealing an appreciation formed from the recordings. The Kitchen Garden laid out the invite and a slice of Suffolk bloomed in the West Midlands. 

Gig Review: Holly Carter - Temperance, Leamington Spa. Sunday 2nd November 2025

Looking forward to a Holly Carter gig simmers with anticipation; basking in the aftermath accrues the satisfaction of spending time in the musical company of a wonderful artist. Instrumental prowess is the most celebrated side of her armoury, yet when combined with a sublime voice, acute song writing and engrossing presentation skills, the ingredients for a special night are in place. Leamington Spa was the latest stop on a run of dates promoting the recently released full length debut album. With Joe Wilkins on guitar and John Parker on double bass, the stage was set for a show that eventually stretched a lot further than a take on a very good record.

The Temperance is a live music gift to the town of Leamington Spa. Additionally, its accessible location draws people from neighbouring urban areas like Leicester, Coventry and the West Midlands. A first descent into the basement performing space is an eye opener. Repeated ones still hone in on a unique charm. The packed schedule is a testimony to an organiser’s commitment to grassroots music, especially those leaning towards folk, country and blues. Holly Carter fitted the bill perfectly and left a gilded imprint after a delightful performance.

The evening was split into two parts. Joe Wilkins warmed up the audience with three guitar instrumentals including one of a classical origin. Whether sampling solo or playing with a number of artists including Elles Bailey, he is one of the leading guitarists on the scene. His presence on Holly Carter’s songs, both acoustic and electric, was notable. The main set ran almost to the hour and half mark which far exceeds the length of recorded material available. Then again, a few covers and bouts of informative chat extended the experience to a hugely enjoyable evening.

In her own words, song influences fall into two camps: social justice especially through the union movement and mental health. The one middle ground part was a personally inspired love song titled ‘Waiting For You To Come Home’. As expected the entirety of Leave Your Mark was played, starting with the informative story song ‘Stetson Kennedy’ and ending, like the album, with the instrumental ‘Morewen’. There was however one added and unexpected treat in a Mozart-inspired bluegrass piece with Carter and Wilkins in full flow and wholly in tandem. 

The song writing side to Holly Carter is shaping up to be a real gem. ‘What You See’, ‘Follow Your Lead’ and ‘Bear With Me’ are songs with genuine quality and weave smart lyrics with memorable melodies. The latter was one of two songs played on the pedal steel guitar, a trademark part of her musicianship leading to accolades like AMA UK Instrumentalist of the Year. The other song getting the extra twang treatment was ‘Moody River’, first brought to her attention via a version from Doc Watson.

Holly Carter subtly slides in a political leaning through a desire to keep the flame of past heroes burning. American unionist/songwriter Joe Hill is an iconic figure celebrated by many musicians from Otis Gibbs to Billy Bragg. Carter has produced an in-depth presentation of his life and legacy, taking it to places like the Maverick Festival in the summer. One musical outcome has been a fabulous version of ‘Where the Fraser River Flows’ where she totally puts her stamp on an uplifting anthem. On the topic of musical heroes with a cause, the other cover played was ‘Bob Dylan’s ‘Song to Woody’, two legends inspiring Holly Carter in addition to The Clash, Manic Street Preachers, John Fogerty and numerous others. 

Stories flowed throughout as the focus also veered to songs off a 2021 EP in ‘Stella’ and ‘Our Hands Are Tied’. There was even a moment where the guitar was put down allowing the gorgeous vocals the space to sparkle to new levels. Throughout, the picking of Carter and Wilkins was exemplary, not forgetting the added dimension of John Parker’s stand-up bass. He is such an experienced operator that borrowing his skills will enhance any performance. 

Holly Carter and the Temperance were a good fit on this Sunday evening. She continues to evolve as a treasured talent, while the venue retains its critical presence in the ecosystem of live independent music.