Gig Review: Turnpike Troubadours + Noeline Hofmann + JR Carroll - Institute, Birmingham. Thursday 26th June 2025

 

‘Long may the Turnpike Troubadours keep the UK on their touring horizon’. The final line of my 2017 review from the band’s Bristol UK gig almost felt like a curse. What happened next is well documented. At least there is a happy ending and that touring horizon became an experienced reality eight years later. In the aftermath of a successful night at the Institute, a quick recap of the review of the Thekla gig revealed a similar story played out to a packed Birmingham audience. From a dedicated band of fervent followers to a six-piece outfit plying through a continuous set of high octane outlaw country music, the venue sizzled with electricity in a raucous atmosphere of country fans breaking out of the Nashville clique and revelling in the red dirt rawness of Oklahoma. 

Evan Felker remains a cool customer holding court effortlessly communicating through vocals and guitar. To his right, outstanding lead guitar playing and the perpetual exchange of banjo, accordion, pedal steel and dobro. To his left, solid bass playing and fiddle constantly lighting up the room. Drums to his rear completed the line up and to his front an adoring audience singing along to loads of catchy chorus numbers. 

The tempo change was notable when a couple of songs from the new album were played including 'On the Red River'. Such is the slow reflective poignant drive of PRICE OF ADMISSION it is difficult seeing it dominate a full-on Turnpike Troubadours gig, yet the eminence of these homage songs proved inspiring breathers in a non-stop set running past the hour and half mark.

The focal point of this tour lay 48 hours away and 110 miles down the motorway. It even formed the basis of this three act show that rocked Manchester the night before and was due to reconvene in London the next day. On the bill of the phenomenally popular Zach Bryan’s twin Hyde Park BST London shows were fellow Oklahomans Turnpike Troubadours and fast rising Canadian Noeline Hofmann. The Alberta native was one of two support acts on an evening jumping right out the blocks at 7:30 and finishing just shy of the 11pm curfew. 

The opening act had another Zach Bryan connection with his keyboard player JR Carroll reverting to an alternative role of solo singer-songwriter. The early start would have caught out those strolling in for the usual 8pm commencement and a chance to catch an artist marked by Rolling Stone as a solo artist to watch in 2025. He gave an assured performance in a duo format and tried to make connection with a UK audience via an Oasis cover. The jury was out on its effect, though ‘Half a World Away’ is a neat little tune.

Fifteen minutes after Carroll completed his half hour set, it was the turn of Noeline Hofmann to take the stage. It has been a whirlwind experience for a young singer-songwriter plucked from obscurity and engaged in the steepest of learning curves. An opportunity of a lifetime presented itself when Zach Bryan cut a collaborative version of her song ‘Purple Gas’ on a 2024 album. Buckle up for an exciting ride with followers growing exponentially and doors opening on a regular basis. Not many young artists get to play their first shows overseas with a six-piece band and in front of crowds such as Phoenix Park Dublin the previous weekend and the upcoming BST shows in London. Opening for the Turnpike Troubadours was also an honour for an artist inspired by this authentic brand of country music. Growing up in the cattle ranches of Western Canada adds to the narrative and when listening to the limited offerings of the music online you get a feel for what is driving her forward. 

The live show is still a developing aspect and playing in the shadows of the Turnpike Troubadours can only help increase the impact of the stage presence. The highlight of her half hour performance came in the last two songs where an added zest accompanied a cover of ‘Big River’ and the finale ‘Sleepless Nights’. Other picks from the set were ‘Lightning in July, Prairie Fire’ opening proceedings and the moment Hofmann and her fiddle player stood alone to deal the ace in the pack ‘Purple Gas’. Perhaps the most informative part of this short European excursion is a debut headline show at The Lexington in London on 1st July. This extended version presents the opportunity to size up an ability to own a room and fill an evening from what presently appears a limited songbook online. Noeline Hofmann is sure to rise to the challenge and a stylish look helps purvey a rack of songs that back up the promise. It wasn’t the last we saw of Hofmann as she was invited back to join in on a version of ‘Long Hot Summer Days’.

This song ranked high among a throng of other tunes adorning Turnpike Troubadours albums for over twenty years. You could choose many as highlights but ‘The Bird Hunters’ was as effective as any opener for honing in on a band’s style and the crowd lapped up old favourites like ‘Good Lord Lorrie’, ‘Gin, Smoke, Lies’ and ‘1968’. Evan Felker appears to be in a good place in 2025 and his band is riding a crest of renewed popularity. The Turnpike Troubadours have always been prominent outsiders, stacking up critical acclaim by the truckload and backing it up via outstanding album releases and a storming live show. Staunchly independent is from where the band fire their shots. They are well-loved far across the US from an Oklahoma base and nights like this expose a keen overseas following. In the words of Felker - 'the band were in their natural habitat tonight'.

To repeat the line from 2017 - ‘Long may the Turnpike Troubadours keep the UK on their touring horizon’. Evan Felker made a promise at the end of this show to return much sooner. The trajectory of Noeline Hofmann suggests she won’t be far behind. 

www.noelinehofmann.com

www.turnpiketroubadours.com

Gig Review: Brandi Carlile - Symphony Hall, Birmingham. Monday 23rd June 2025

 

Lost Time was the name of the tour and also the mission of Brandi Carlile to repay the faith of her followers in the UK. Legions of dedicated admirers have grown enormously over the years despite the lack of any meaningful shows outside London. The landscape has also considerably changed since a previous tour was aborted due to the Icelandic volcano flight disruption (yes, that long ago). Popularity in Birmingham has gone from a Glee Club booking to selling out the Symphony Hall in literally hours. A string of increasingly impactful albums and a recent collaboration with Elton John helped raise the profile. Maybe not everybody with a Glee Club ticket fifteen years ago was able to make the ‘delayed re-staging’ but those present experienced the full-on pleasure of one of America’s most eminent singer-songwriters reaching out to bond with a fervent fanbase.

Country in her heart, rock in her head, songs in her DNA and an ability to connect running through every vein of her body. A slightly awkward demeanour adds to the authenticity, the voice is a force of nature, other traits are woven together by a charismatic thread in a performance reaching the core of a dedicated fan base. Lost time was soon made up and the Queen of Americana sealed the deal of a regal reign in the moving feast of a two hour ten minute show. 

More lavish presentations have graced the Symphony Hall stage but keeping it simple suits an artist retaining a roots sound at arms reach. The Hanseroth twins, Phil and Tim, remain stoically by her side, just like they’ve been for 25 years. Music is the face of a bond running deep. Joining the bass and lead guitar of the brothers were a drummer and a stylish duo known as SistaStrings on cello, violin and backing vocals. Sufficient in numbers, mighty in sound: the Symphony Hall does the rest. 

Opening with ‘Cannonball’ from her first album showed the intent of the setlist breadth and sung from three voices around a single mic set the scene for an undulating aura of touching piano-led ballads and spiralling rock moments piercing the grand hall’s acoustics. Things were brought right up to date with ‘Swing For the Fences’ reflecting the recent collaboration with Elton John that altered her exposure in the UK. 

We learnt the setlist is a nightly choice from a pool of forty five rehearsed songs, give or take the odd fan requested curve ball. You could make another stunning two hour show from the omitted songs with two of my Brandi Carlile favourites - ‘Wilder (We’re Chained)’ and ‘Sugartooth remaining in the domain of home enjoyment. However Birmingham 2025 excelled in a shared pleasure with searing chord changes and vocal dexterity uplifting the iconic ‘The Story’ to send shivers alongside the ultra appealing ‘You and Me on the Rock’, also shining in a singalong fashion. 

My previous abiding memory of Brandi Carlile live was an inspiring cover of ‘Streets of Baltimore’ in duet with Ketch Secor of Old Crow Medicine Show at a Maryland gig in 2016. Nine years later when in the UK why not cover an 80s pop classic with ‘Mad World’ the perfect stripped down solo number.

Without the band, she holds court for the appropriate amount of time as ‘You Without Me’ segued into ‘The Mother’ with seamless honesty. Back in 2016, a US crowd whooped at the line ‘made us mean to fight for you’ regarding the birth of Evangeline. The Brits were more subdued. 

Expressing a view on the President overseas is not as taboo as 2003 when the Dixie Chicks let rip. Cue ‘Saints Sinners and Fools’ with no fence sitting. This led into the pre-encore epic of ‘The Joke’, a career defining songwriting classic. As much as Carlile puts her heart and soul into the live performance, a distant epitaph will coalesce around era dominant songs brimming with lyrical excellence, 

From the joyous amplified tone of ‘Broken Horses’ in the opening salvo to the poignant send off of ‘Party of One’, all bases were covered and savoured by a sold out fervent crowd lapping up the solidarity of their idol. Further highs came from a pair of tracks off the most recent solo album with ‘Mama Werewolf’ making a rare live appearance and ‘Right on Time’ bringing its album superiority to the stage. 

The honour of opening the show fell to an artist with a familiar surname. Vocal genetics are certainly in play in the sound of Audrey McGraw. The daughter of Tim McGraw and Faith Hill has a lot to live up to with opportunities and expectation jostling for prominence. She grasped the former to announce an arrival onto the big stage boosted by a cover of a Mexican song reverberating around a hall built for the big sound. Something her mother excelled at.

The final word lies in the stunning beauty of ‘The Eye’ which symbolises the eternal entity of Brandi Carlile, Tim Hanseroth and Phil Hanseroth. Tonight in Birmingham they bonded with a hoard of believers. The music and appeal is addictive. The boundaries keep the sceptics out. Inclusivity prospers inside a big tent. A space for identity to flourish and for lovers of articulate songs to wallow in the art they love. The Symphony Hall conveyed an ethos and was a happy place. 

This is second hand but memory cannot alter it.

Gig Review: Hannah White - Thimblemill Library, Smethwick. Saturday 21st June 2025

Four years to complete the circle.The intervening period has seen a seismic change in the career of Hannah White. In May 2021, a new world was emerging for live music. In a lot of ways it turned out to be like the old one. An early post-Covid gig saw Hannah White and Keiron Marshall play a memorable show at the Kitchen Garden in the Birmingham suburb of Kings Heath. It opened the door on an artist who epitomised ‘show don’t tell’. One whose songs and vocals convey every sinew of life emotion.

Fast forward to June 2025 and an eventual return to the area to headline a night, though this time a skip over the Sandwell/Birmingham border to venture deep into a suburban community fighting to forge an identity. The West Midlands grand stages have hosted Hannah and Keiron in support slots since but you can’t beat owning the space for the night. Thimblemill Library defiantly flies the arts flag in a borough not always stacked with positivity. When hosting acts like Hannah White it connects real people with real music. The cornerstone of any meaningful artistic interaction. 

Perhaps it is the sense of bringing your music to a real place where ordinary people seek to embellish their minds that made Hannah White click in the makeshift performing space at the heart of a public library. A grounded artist sharing real stories capable of forming much of the surrounding fiction. Ultimately, it’s how the song is expressed that splits Hannah White from her peers. Sharing them in the raw emotive way they were built while mixing beauty with imperfection. 

Perfection did exist in a single song introduction. Tell a story and drop a solitary bombshell line in at the end with no fanfare. The implicit poetic side to ‘Car Crash’ fills in the gaps. The pre-encore end wasn’t too shabby either with a standing ovation saluting the cracking sound to ‘Chain of Ours’ where an infectious chorus melody and sizzling guitar solo ignite any room. The equally catchy ‘Right on Time’ brought its love song qualities earlier in the set and if there’s been a better UK country song in the 2020s than ‘Broken Bird’ it needs to come out of the shadows. Hannah White struggles to define her music. Leave that to the mind of the listener. The bulk of her material isn’t as country as the latter but each composition is wrapped in the sentiment of Tammy, Kitty, Dolly and Loretta. 

On the steamy night akin with the southern US, an extensive evening of music ran across three sets. Mountaintop Junkshop opened with 30 minutes of harmony-led folk-styled Americana blending elegance and raw sincerity. They proved a good booking. Hannah White and her band played two sets with the momentum of the second taking it past the hour mark. The show was the final date of a tour promoting the year-long monthly single release. A label initiative keeping Hannah in the recording spotlight throughout 2024. 

Although these songs wouldn’t have hanged together to form an album, we learned they will be included on a bonus disc in the CD version of an upcoming record. The September release of FINE DAY is a mouth watering prospect for the second half of the year. 

Four years is too long between headline Hannah White shows in the West Midlands. The trajectory of her career should see that corrected. The promise of a cautious step back in 2021 has blossomed into a top level performer in 2025. Hannah White owns whatever platform given. It just happened to be a library floor on this mid-summer evening. A real story wonderfully told in words and music. 

Album Review: Gitta de Ridder - N(i)e(u)w Land

 

www.gittaderidder.com 

For a magical sprinkling of lo-fi stardust look no further than the new album from Dutch artist Gitta de Ridder where the listener is serenaded into a state of restful bliss. N(i)e(u)w Land is the epitome of fragile beauty using a melange of folk and pop to spin thirty minutes of tranquil harmony. Themes range from loss to a journey from the Netherlands to a UK adopted home as de Ridder applies an Anglo European touch to proceedings. This fourth album possesses plenty of charm to accrue new admirers if its post-release life is carefully channelled. Multiple listening venues across the UK would provide an ideal sonic backdrop. Even the entirety of its thirty minute duration doubled up with chat and insight would enable a night of good music to align with respectful ears.

The album consists of ten tracks collaborating with Swedish producer Jonatan Bäckelie and glitters with a series of inspiring highs. The pick unequivocally is the adorable ‘Chasing Sleep’ with the definitive line ‘so that I can meet you in my dreams’. A spirited song pitching love from a different angle. A couple of tracks later in the running order ‘Shine Sun Shine’ is the song depiction of less is more as a truly sparse production sparkles. Closing on a minimalist note is an astute way to define a record oozing strength from small pieces.

You may need to get past opening track ‘High Hopes’ to ease into the album groove on first listen. Subsequent plays will present no such problem as the feel of the better tracks lifts its presence to join the fray of a seamless experience. One of the instantly enjoyable tracks is the delightful ‘Tiny’, an apt name for a song on a succinct record, yet its immense quality exponentially increases the impact. Releasing this as the first single was a wise move.

‘Dear Memories’ has been propelled forward as one of the leading numbers and acts as an inspiration of the album’s bi-lingual title. Its elegant demeanour befits the record that pans out. Maybe your personal memories will come to the fore from being in tune with the theme and vibes of the song. At the heart of the record sits the tempting chimes of ‘Heroes for a Day’ where a multiple input of sounds blend into a rewarding listen.

The album benefits from textured layers, some acoustic; some electronic; all coated with an affectionate vocal gloss. Traces of pop melodies ease the listening process, a move than can reap rewards especially if retaining a strong substantial content. 

N(i)e(u)w Land is a soothing delicacy exploring an emotive template. A chain of beautiful compositions glide across frontiers extolling a tight brevity. Gitta de Ridder has pockets of affection across her adopted country and the web of styles and messages woven into this new record polishes a fresh gem to expand appreciation. 

Album Review: Odette Michell - The Queen of the Lowlands

www.odettemichell.com

THE QUEEN OF THE LOWLANDS is an accomplished body of work allowing the many sides of Odette Michell's artistry to prosper. Whether you sit back and savour the regality of serene vocals nestling among the finesse of fine musicianship or dive deep into the song content, the album meets the ideals of folk music head on. Archivists in the future won't need to dig so deep to discover the music of today but could be forgiven in confusing the original content here with timeless cuts from the traditional pool. Michell observes tradition is how the songs are constructed, yet all are current compositions blending old stories with contemporary feelings. The result is a robustly compact record awash with layers of enjoyable aspects. 

Four of the ten tracks draw you in straight away from the pure impact of the tune. 'Hourglass' is one that transcends a tight genre convention and could flourish in any setting. The theme of cherishing every moment never loses its powerful potency and when so elegantly presented increases its worth. Michell's vocals are right on the mark and like on other parts of the album strategically ease off to allow a guest to breeze in. Calum Gilligan features here. This tracks slips into the title piece 'The Queen of the Lowlands' boldly presented with a rousing chorus, whilst telling the story of a WW1 Dutch ship famous for transporting and repatriating thousands of US troops to and from Europe. Dazzling fiddle from Chris Leslie adds some vibrancy especially at the end. Violin opens the third of the popular quartet in 'All the Bonny Ships' as a nautical theme (at least in the title) continues in a family oriented post-war reunion. This track closes the record but a lot earlier the magnetic charm of 'St Helen's' holds fort telling a tale of emigration from Ireland to the cotton towns of industrial Lancashire. Can't say you hear too many songs about the modern incarnation of the place, yet we all sway in time to this excellent tale mixing the tough with the touching.

Contributions from luminaries of the folk world lavishly adorn the album starting with the production duties of Stu Hannah from Megson. Expect Ninebarrow, Lukas Drinkwater and Phil Beer among others to pop up. However none smoother than the talents of Odette Michell holding court on her moment in the spotlight.

The readily accessible lyrics are a useful aid alongside some explanation of the song content. This will help with 'Lady Constance', an Irish philanthropist, and bringing things right up to date in 'Waterline' where EU handouts led to the abandonment of many Fleetwood fishing vessels. You are never short on learning something when listening to albums like this. 

Nature plays its part in two songs before one veers off into fictional folk myth. 'The Woodlark and the Fieldfare' soothes the mind with the help of passionate naturalists Ninebarow. 'Flowers' sees the sole co-write with longtime friend Daria Kulesh as the pair inspired from a walk in the woods spin a tale of lauded myth with the usual folk ending via a pistol.

Completing this ten-strong collection are two less obvious songs with 'Requiem' paying tribute to Scottish storyteller Robert Louis Stevenson joined by Vicki Swan on Scottish small pipes, while 'My Love is Like the Rondelet' addresses separated love. The latter reinforces the sparkling vocal eminence of an artist rivalling the best in the business.

QUEEN OF THE LOWLANDS packs a lot into its forty minutes and parts will take a few listens to sink in. The bonus is the quartet that lure you from the off. Odette Michell has made an album rich in astute quality and primed for praise from influential sources. For anyone with even a casual interest in folk music, it is a worthwhile addition to any collection.

Festival Review: Beardy Folk Festival, Hopton Wafers, Shropshire. Friday 13th June to Sunday 15th June 2025

‘Give me a child to the age of seven, and I’ll give you the man’. On its eighth birthday Beardy Folk has found itself. It has matured into a staple event, maximising sustainable parameters and forging an identity. Conquering south-westerly weather patterns is the final frontier and that has nearly been achieved. The fledgling cloak can be cast off and it’s all power to the walled garden, an enchanting place in mid-June. Bring on the ninth staging with double figures approaching, but let’s live in the moment, or at least three days from the recent past.

It began with three women slipping into the mythical entity of one Wise Woman. Visually striking, vocally stunning, the scene was set. It ended in bizarre chaos bar the frenzied ceilidh with a mass of multi-aged folkies running amok to the sounds of Scottish Gaelic meets Jamaican Dub. Words are futile, actions immortal. Finish with An Dannsa Dub and you’ve ripped up the rule book.

Demi Marriner

2025 had its poignant moment when Michele Stodart first took to the acoustic stage with her own band then the main stage with the family band. Michele and The Magic Numbers sat out their June 2024 invite. Hopefully they dreamt what June 2025 was going to be like. It may have kept them going through dark times. In the midst of this joyous moment, 3 Daft Monkeys gave a huge sigh of relief when their set sailed past last year’s three song mark. No mother of all storms this year to curtail things, just a perpetual shower soaking the final throes of Friday music. 

Friday was fun. Eleven sets back-to-back with minimal breaks. Even the last minute substitute for the poorly Maddie Morris took his chance with amusing and risqué gusto. Defining the line up is a hopeless task. We had bi-lingual Welsh bluegrass from Cardiff courtesy of Taff Rapids and confessional songwriting from Camden Town via the heart of Simeon Hammond Dallas. Hen Party frivolity Barnsley-style flowed from the indie pop vibes of Common Culture, but it’s a folk festival, I hear them say. All music is folk music but if you wanted to stay on script, the awesomely capable hands of Hase Waits played a wonderfully inspired traditional set on the acoustic stage while the missing rain crept up outside. Now that’s an act that preserves some meaning to the word ‘genre’.

Sam Kelly

Two more Friday acts gave the day a fulfilling sheen. The rich vocal tones of Cardiff-based singer-songwriter Blino were befitting of any setting. Cover songs pay the bills but originals are from the heart. He gave us a sample of The Boss but Beardy is not really about that. It’s about giving the fine songs of Blino a platform. No covers from Birdbrother, just a trippy forty-five minutes of hypnotic multi-instrumental psychedelia. Two guys; one great sound, and the reason festivals are such interesting and diverse places.

Saturday was fun and dry. A disclaimer as this intrepid music absorber sat out three of the twelve scheduled sets on the two stages. Admittedly, one was Dan the Hat, but who’s to judge a comedic interactive magician. Beardy fans lap him up year after year. Likewise the return of The Bar Steward Sons of Val Doonican was greeted with raucous hilarity. Fast forward to Sunday morning and the quirky humour of Polly Morris was more to my taste. An audience with Steve Tilston had many admirers but for me the format lacks the voyage aura of experiencing live music. However, these three are popular and play a part.

Simeon Hammond Dallas

You couldn’t have a more different perspective to how the day started and ended. A half-hour set from seventeen year old Milly Mason was a delightful way to open things at eleven. She was excellent and way above her years in composure to deliver an engaging set. The style was country-pop and the proof that any good original music with a quality song structure at the heart is welcome at a folk festival. Throwing in a Taylor Swift song recorded before she was born put the age in context. Right at the other end of the spectrum, a spectacular day finished in the pulsating energetic arms of Skinny Lister. A lively band of musicians bringing shanty punk to the masses. The spirit of Shane McGowan lives on. 

The new and familiar juxtaposed right across Beardy Saturday. Six days from seeing Sam Kelly and Honey and the Bear play a Birmingham show, both acts had a main stage billing to kick off their festival seasons. When you have been opening for an exceptional band, you might as well use their talents. Lucy and Jon aka Honey and the Bear invited four members of Kelly’s Lost Boys band to give their Suffolk-focussed folk songs a gentle boost. For Sam Kelly, Beardy was the final date of his Dreamers Dawn album launch tour. The title track is becoming my song of the summer and the heart dropped as he announced the last number without it appearing. Encores are rare at festivals, but then Sam Kelly and The Lost Boys are a special band. Cue an impromptu one and the day was saved. Listening to the song in the place it is meant depict made the moment. Two more familiar names from a more distant past teamed up for a rare show. Banjo-playing maestro Dan Walsh and guitar master Brooks Williams have been seen many times at festivals but never together on the same stage. This set was a treat. An Anglo American feast of blended music. 

Partial familiarity applied to The Ciderhouse Rebellion who hooked up with Irish vocalist Molly Donnery for an exquisite lunchtime main stage set. Both artists have played the festival before and the gelling of voice, accordion and fiddle sent shivers across the Shropshire Hills. A summer feeling that keeps the memories fresh when the cold moves in.

The Cinelli Brothers

The final three artists making Beardy Saturday a success were all new to me. Rachel Hill is equipped with all the attributes for a successful music career and displayed them with panache during an acoustic stage set. A elegant aura surrounded her music in contrast to the offbeat riotous vibes of The Cain Pit bringing a huge slice of East Coast Punk Grass from the lowlands of Norfolk to the comparatively mountainous terrain of the Welsh-English border. They came armed to make an impact and flex the genre elastic band. An all-round entertaining band built for the festival field. The Cinelli Brothers possessed a suave charm and a sound shifting around many gears of blues influence. A hard working band built for the road and loading their vehicle with admiring recruits. They left us with the quote of the weekend ‘we are chin but don’t mind the sin. '

Sunday morning coming down is not on the Beardy agenda. Very few artists can make you laugh and cry at eleven o’clock on a Sunday morning. Polly Morris delivered a comic element brimming with impactful timing putting music in front of the mirror, interspersed with touching songs parading real issues to the fore. Beardy never refrains from inviting artists back even if it’s been a long time. Demi Marriner and Joshua Burnell were both on the inaugural bill in 2018 and much water has passed in the last seven years. This time they both brought full bands and commandeered a main stage slot. Individual styles were nailed with Burnell sailing in the seas of progressive folk rock and Marriner finding fertile soil in country-Americana fields. They depict a rich tapestry and extend their gift to all. Wet the Tea were more recent visitors in 2023 and returned with a fine trio performance pairing delightful sounds and engaging stories. 

Michele Stodart

Foreign Affairs racked my brain to where I had seen them before. A quick search and the link was opening for Larkin Poe at The Glee Club in Birmingham in 2019. Maybe the pandemic altered their course but they are ramping up for a storming return to a wider exposure via a robust blues sound  and a pitch to Americana ears in the UK. The acoustic stage at Beardy Folk was a loud sample.

Festivals are ideal places for bands to diversify into different forms. Before Rangari took to the main stage, two acoustic stage sets featured band members. Firstly, the duo act of Eleanor Dunsdon and Gregor Black, the former on harp and the latter on percussion. The combined sound was gorgeous and just the tonic to set the mind roaming off to dreamy places. There is a definite wild Scottish feel to what they do and it soothes to the core. Before the harp was heard in the band later, it was the turn of Eliza Marshall’s flute to help form an enticing show. This step into the solo world was described as a bold move, but when joined by poetry, guitar and samples of electronica, a gentle feel of inspirational tranquility took hold. Marshall and Dunsdon then become one half of the Ranagri quartet with the other filled by Dónal Rogers and Jordan Murray. The result is an exhilarating blissful sound encompassing stories, magical moods and music touching the souls of attentive audiences. 

The final scheduled act before the mayhem of An Dannsa Dub, and the ceilidh after-party, was another Beardy returnee. Greenman Rising turned the full folk circle taking you back to basics. After a wild ride around a manic musical template some might say normality resumed.

So that's the wrap on Beardy Folk Festival 2025. A treasured event carving its own niche on the circuit. 

2026 anyone? The promise was made.

Gig Review: Niamh Regan - Kitchen Garden, Kings Heath, Birmingham. Thursday 12th June 2025

In a parallel world, Niamh Regan would have been opening for Hothouse Flowers at the Institute. Instead, on this evening of extensive Irish talent in Birmingham, it was a privileged smaller gathering at the Kitchen Garden that savoured the talents of this succinctly evocative singer-songwriter. Imagining the person playing several feet in front of you commanding a bigger stage was an easy task. Such thoughts were instantly smothered by seizing the moment, and Niamh Regan knew how to capture the present. Owning whatever space you commandeer is a winning formula. A quirky aura and alluring sheen puts her qualities in focus and a convivial demeanour channels reams of affectionate songs. The smile was infectious, the voice compelling and a sixth sense wrapped a warm musical blanket around curious ears smitten by the effervescent charm. 

Niamh Regan has an endearing vocal trait.Within each song she slips in, consciously or not, an odd word or line in a spoken form. This is a style reminiscent to Laura Marling, so not a too shabby association. Another name conjured up from the vocals occurred during the best song on the evening. The mind settled on a sound akin to Frazey Ford when ‘Music’ caught the ear in the final throes of the second headline set. 

The show was structured in three parts. Regan’s two sets of 35 and 45 minutes respectively straddled a short break that at the time felt like it broke the flow. The longer second part restored the tempo. The evening began with a half hour support slot from Midlands-based singer-songwriter Jessie Reid. The decision to pair both artists was wise as their left field styles complemented. Reid takes innovative guitar playing to a different plane adding a mesmerising accompaniment to her deep meaning songs. Mutual appreciation between both artists was replicated in the audience. 

Jessie Reid has her own headline show at the Kitchen Garden in September and used this performance to warm up for a summer of festival appearances. Niamh Regan is a far more experienced artist but appears to be a new name for many across the Irish Sea. She commented on this being a first visit to Birmingham and with some luck hopefully won’t be her last. 

Modern music media allows us to mitigate risks on taking chances with new artists. To Niamh Regan’s credit the live version immensely enhances anything experienced through the screen. The benefit of stripping away the lens. Maybe it would have been interesting to learn more of her musical journey during the inter-song chat but this didn’t detract from the benefits of listening to a unique artist in full flow. 

Hothouse Flowers probably thrilled their old fans in the Institute. Niamh Regan did likewise for a new throng a few miles away. Birmingham possesses a rich Irish heritage and a small part of it prospered in Kings Heath this evening. A new potential favourite artist is often just around the corner. 

Album Review: Luke Tuchscherer - Living Through History

 www.luketuchscherer.co.uk

Luke Tuchscherer displays all the attributes of an articulate hard rocker on his latest album. Additionally, Clubhouse Records return to the forefront of talent enablers adding a rare release to their catalogue, and faith in a long term accomplice has been healthily repaid in the shape of a powerfully curated record. LIVING THROUGH HISTORY peels away multiple layers of Tuchscherer's artistry to reveal an album sharp, incisive and stacked with dynamic energy. Whether you feed off guitarists buoyantly stirring the pot or singer-songwriters threading key messages with  meaningful words, this 6th album from an artist now back in the UK will resonate highly.

There was little surprise that the secure partnership with David Banks is firing impressive volleys. The latter is becoming increasingly present as an effective backroom operator and adds many fine touches to this 10-track collection (There is a hidden track on the CD version.) The passion of protest is in fine fettle as a period of living in the United States no doubt added to the impulse of venting anger. Mind you, anywhere in the western world is exposed to the dangers sparking Tuchscherer to fight back in the best way he knows. 

Eight fiery provocative pieces stand alongside two milder offerings. The balance works with 'Living Through History' wasting no time kicking things off in hard hitting mode before the quainter reflective 'Goodbye Bergen Street' harks the perfect poignant closer. Bend your ears one way and hints of late 70s Weller bound along in spirited lyrics and channelled ire. Tilt them in another direction and echoes of Springsteen's storytelling rocking out drift across the waves. Extra-amplified guitars are near-omnipresent though essential vocal clarity eases the listening process. 

Effective protest music is good for the soul. If you align in the same camp as Luke Tuchscherer, line after line will ring loud and true. If you don't, a simple lesson is laid out. The aforementioned opening track sets the scene with a wider look at where the world is and the motives that have taken hold. The second track blasts a hole in the status quo with 'Gonna Be a Reckoning' laying bare a prediction. Tuchscherer's former home gets subtle digs in 'This Was Me' with a slighter lighter sound issuing in a moment of ear comfort. The pace immediately is ramped up in 'You Should Be Ashamed' with the culture war getting a voluminous bashing. The first real tempo change occurs at the midpoint with 'Walls Come Tumbling' pleasing ballad fans.

'Whose Side Are You On' leaves you in no doubt to the song motives with a tenuous nod to Billy Bragg in the title. Here we see a return to some seriously strong rocking out. 'So Sudden Somehow' embraces acres of post-punk vibes as the lyrics get a touch more cryptic. Protest music needs some optimism and 'This World is Worth Saving' offers hope and an possible endgame. 'Our future's not our fate' are wise words. 'Most Days' guides the album towards its deeply personal closer and is a final dose of Luke Tuchscherer digging deep to serve up a sizzling hot rocking out track. 

In a world where 'Americana music' is increasingly difficult to define, you just know that LIVING THROUGH HISTORY will sit right at the heart of it on sentiment alone. Its ears are drawn to what Luke Tuchscherer has to say and will be stoked at how effectively he conveys meaning. The sound is vibrant. and effortlessly bounds along. A truly memorable and meaningful record. 

Gig Review: Sam Kelly and The Lost Boys - Hare and Hounds, Kings Heath, Birmingham. Sunday June 8th 2025

 

The countless projects, collaborations, formats and associations for Sam Kelly over the last decade keep any interested follower busy. Playing a part among the elite and nurturing the grassroots all add to an influential involvement across the folk circuit. Yet there is one set up that keeps things moving forward when the opportunity arises. Sam Kelly and The Lost Boys is an established six-piece combo loaded with exceptional talent. They are core to what drives Sam Kelly on and a chance to plough a fertile furrow with long time collaborator Jamie Francis. The band has thrilled venues and festival fields for years, although a youthful zest implies a long future ahead. On the back of a brand new album under the band name, the mid-point of the launch tour called into Birmingham, a city that has hosted Kelly in many guises including self-named duos, a special one off with Ruth Noteman, guesting with Chris Cleverly and playing a prominent role in the Company of Players. Taking The Lost Boys to the large room in the Hare and Hounds was the boldest move yet, a bigger stage to grace the skills of six fine musicians on fire when in full flow.

Sam Kelly comes across as a grounded musician with the potential to flourish at the summit. The presentation is first class, while the touring operation is as resourceful as you expect at grassroots. Teaming up with highly rated Suffolk coastal duo Honey and the Bear is a wise choice. Not only do you have a superb opening act, but an opportunity for Sam and Jon Hart to exchange sound duties on each others sets. Yes, the sound was excellent on an evening where Honey and the Bear entertained a good audience mix of devotees and newbies for half an hour before the main act trebled their stage time with an absorbing display of multiple-facetted folk music.

DREAMERS DAWN, the fourth full Sam Kelly album (in addition to his duo effort with Ruth Noteman) entered the world on the Friday before this gig. Around half the album made the set list. Maybe they're not all ready for the stage yet or just there are plenty of competing songs from a strong back catalogue. Two tracks from the album opened and closed the set. 'The Bold Privateer' perfectly got things underway just as it does on the record, and a nod to how well the band interprets traditional songs. At the other end of the scale, 'Dreamers Dawn' showcases the writing skills of Kelly and Francis and adopts the role of perfect show closer. With its theme of live music aura, it is built for festivals and the band will get opportunities for it to find larger audiences in the summer. In fact, it could become one of the sounds of the 2025 summer.

It was good to hear a couple of the best tracks off the album live and fresh out of the packet. The banjo-led version of the invigorating 'Gallows Pole', made famous by the legendary Leadbelly, cemented its deep rooted appeal, allowing Francis to thrive in the lead instrument role.  The different tone to 'Till Sleep Comes Calling' resonated strongly upon album listens and its heartfelt theme made for the show's most thoughtful moment. Another top song enhanced by its live version. For a touch of subtle political comment, 'The Old Deceiver' reveals unashamedly where allegiances lie: generally safe ground at folk gigs. 

The other four members of The Lost Boys maintained a hearty tempo led by blasts of fiddle and flute from Toby Shaer and consistently effective melodeon from Archie Churchill-Moss. In the backfield, the percussion from Evan Carson and cello playing of Graham Coe kept a steady beat, with all band members showing a combined flair on a set of polka tunes and segueing an instrumental from THE WISHING TREE album. Coe racked the brains for a few minutes before recalling him from The Jellyman's Daughter, a duo discovered in Edinburgh many years ago.

The most popular song of the evening was a lively version of 'Angeline the Baker', a moment needing no invitation for the crowd to clap and singalong. The band recorded this on 2017's PRETTY PEGGY, an album also feeding the setlist with 'Bonny Lass of Fyvie' and 'The Shining Ship', with the latter setting up the finale. The oldest recorded Lost Boys song turned to was 'The King's Shilling' from the debut album, while THE WISHING TREE was also the source of two pieces subjected to informative introductions. 'Bluebird' takes a more positive stance of the ill-fated speed record attempts of Donald Campbell, while 'Tinker's Poteen' sees Kelly's Irish heritage explored.

An enjoyable evening was enhanced by Jon and Lucy Hart's opening set which included a brave three-part harmony audience participation that worked remarkably well. We have been lacking some Honey and the Bear shows in Midlands, so it was also pleasing to learn of the band's date at the nearby Kitchen Garden in November. A night straight in the diary. 

The song 'Dreamers Dawn' captures the spirit of live music and there is no better feeling when a band comes on stage to play their hearts out. Sam Kelly and The Lost Boys did that and handsomely repaid a Birmingham crowd. Looking forward was a theme of the chat and there are certainly prosperous times ahead for whatever Sam Kelly turns his hand to. Sometimes all you need is a special moment in the present and this occurred at the Hare and Hounds. 

NB Both Sam Kelly and The Lost Boys and Honey and the Bear appear on the main stage at Beardy Folk Festival this Saturday. Look forward to more reflections in the review.

Album Review: Sam Kelly - Dreamers Dawn

 

www.samkelly.com

Sam Kelly has long been viewed as a bridge between the generations, whether making records or contributing to the work of others. He is highly active among his peers in collaborative and production capacities, while in-demand from some of folk’s leading luminaries. The depth, breadth and artistry of DREAMERS DAWN points Kelly in the direction of the summit as a recording artist and you sense great strides accompanying the life of this fine album. 

A great strength of Sam Kelly is to bring a fresh zest to a traditional sound. When keeping the past alive he applies a glossy coating to well-worn pieces. Ultimately, the future is best served by moving the writing process forward and the original numbers here sow seeds for a prosperous one. 

Kelly intermingles four traditional songs with seven new compositions to give the album a wider appeal. The most attractive offering from the old time pool is the banjo-led foot stomper ‘Gallows Pole’. You get the full force of the band at the beginning of the album when a rousing version of ‘The Bold Privateer’ sets a vibrant tone. ‘The Lincolnshire Poacher’ was one of the singles used to promote the record and adds a traditional flavour to the latter stages alongside closer ‘The Dark Eyed Sailor’.

While the placing of the traditional content gives the album an effective structure, the original songs offer a succulent substance. Leading the way with a memorable chorus line is the pivotal-placed ‘Snakes and Sermons’, a song taking a swipe at toxic relationships. Early in the album, title track ‘Dreamers Dawn’ pitches its worth in a swirling style while embracing the all-consuming aura of live music. A song soaring to higher planes with each listen. Among the sizzling gems sits a gentler song creeping up to show the worth of keeping it simple. ’Til Sleep Comes Calling’ sees Kelly expose a sensitive side with an injection of heartfelt soulfulness superbly dealing with the subject of chronic health issues. When the dust settles everything clicks into place with this emotive song.

All the original songs are credited to Kelly and Jamie Francis who are also the co-producers. This tandem proves highly productive alongside a celebrated band of players known collectively as the Lost Boys. The band takes a back seat for the album’s most intimate part when Kelly turns the focus towards the loss of man’s best friend in ‘Skye’, a subject dear to many hearts.

To radically change direction, ‘The Old Deceiver’ tackles the theme of populist nationalism and how it feeds innate fear, while the final two originals are paired together with contrasting titles ‘In the Cold’ and ‘In the Dark’. The writing is a touch abstract and grasping them takes longer than some of the others tracks.

DREAMERS DAWN is an amalgamation of Sam Kelly at his best. A record melding simple listening pleasure with songs sparking rewarding interest and intrigue. Assured production and esteemed musicianship ensure the package glistens with a high quality sheen befitting an artist lodged in the upper echelons of his field.