Gig Review: The Lost Notes - Jennifer Blackwell Performance Space, Symphony Hall, Birmingham. Wednesday 4th February 2026

 

After three full length albums and a wealth of gig experience in the locker, the time was ripe for Birmingham-based band The Lost Notes to turn their hand to a live record. The groundwork was done last year with a successful gig in the Jennifer Blackwell Performance Space at Birmingham’s Symphony Hall. This adapted area has all the attributes for effective live music such as excellent sound and lighting as well as a comfortable spacious layout with additional viewing from an upper balcony. With logistics in place, the word went out very quickly that a repeat show was planned to record the live album and over 200 fans snapped up tickets to sell out the event. Their enthusiastic gusto was as much part of a successful evening as a band on a mission to do the project justice. 

If the planned live album is a fraction of its source then listeners are going to feel the energy. Heart and soul, the ultimate audience bond and a performance of prime effervescent quality filled a packed setting as The Lost Notes brought a fully stocked ‘A’ game to the party. And a party it was, celebrating the growth of a band from the open mics of Birmingham to gracing the floor of a prestigious venue. The 2000 seater main hall has staged many momentous shows but there was something satisfying about a local band ripping it up on the periphery. This was the grassroots at its finest and a wonderful example of where the oxygen of the live music ecosystem is generated. 

The Lost Notes is a core trio of Ben Mills (vocals/guitar/piano/harmonica/trumpet), Lucy Mills (vocals/ukulele) and Oli Jobes (guitar). On grander occasions, they expand to a five-piece, and for this landmark show Max Tomlinson joined on drums and Pete Churchill on upright bass and accordion. For two hours, endeavour, engagement and eminence delightfully collided, pulling multiple strands of popular music together, while championing a bold brash acoustic sound.

The evening opened with a set from The Rosellys. Appearing in a duo format with Simon (guitar/fiddle) and Rebecca (guitar/banjo), they displayed the breadth of their country/Americana influences in a tight 25 minute set highlighting what a popular act they have been on the UK circuit for many years. A long acquaintance with The Lost Notes led to the booking, and it wasn’t the last we heard of them as the main event quickly got underway.

Ben Mills revelled in the moment, oozing charisma through distinguished vocals and turning a hand to guitar, piano, harmonica and even trumpet. The voice of Lucy Mills drifted across the perfectly curated soundscape in a bubble of beauty, whether in harmony or delectably leading. You can’t beat an acoustic guitar beating out an exquisite array of tunes and sounds especially when played by core trio member Oli Jobes, an ear catching guitarist of notable prominence. On drums, Max Tomlinson kept impeccable time and not shy to put on a show when afforded the solo spotlight. Upright bass is a key component of an acoustic combo and Pete Churchill eased out the deep tones with authority, briefly switching to accordion for an empowering waltz-like moment. 

Local pianist Piera Onacko was invited to join the fray for a couple of songs taking advantage of the venue’s grand piano. Additionally, extra voices enhanced the vocal presence with a posse of singers known as The Choir with No Name also accepting an invite. The evening ended with both guests plus The Rosellys joining the band for the finale.

The Lost Notes’ songs steer clear of conveying layers of complexity, honing in on the notion of the band doing the work. Acute melodies liberally garnished the bulk of a 22-song set list, gathered from three albums, joined by a signifiant sign that the future looks bright in the hands of a slate of new numbers. The Lost Notes pride themselves on all originals and have the ear to dive into a cauldron of influences. Jazz, country, blues, folk and even a hint of boogie woogie feature alongside a drive to nail the archetypal popular song. The key take is an act striving to reach a peak and pushing all related inner levers to make music that resonates with a hinterland constrained only by economies. 

Two pre-announced 50-minute sets were each extended to an hour giving a wealth of content to mix and edit. Song interludes were warm and relatable extolling a gracious real world philosophy of what making commercial music means. The Lost Notes showed where drive, ambition and desire can take a small act out of Moseley. For a momentous evening, the Jennifer Blackwell Performance Space became Carnegie, Royal Albert and Symphony rolled into one, a culmination of belief and faith that these bunch of songs have legs to travel far.

Live albums are best viewed through the lens of those who find gig attending inaccessible and a chance to widen the appeal that may not be open to all. In truth, those attending this gig probably wouldn’t swap the end product for the raw in-person experience. Yet the legacy of the evening may be the scope to capture the spirit and share to others the magic of interactive live music. The product of the evening awaits but the process of creating it impeccably delivered. 

Set 1: Holding On: Whiskey for Breakfast: All at Sea: Let it Rain: Don’t Try it on Me: Done with Waiting: A Fool Once Told Me: Head Over Heels: Heartache: Slow Down: Wild Man

Set 2: Run Like a River: Pieces of a Star: I Got Time: God Loves a Sinner: We Don’t Need Another Love Song: Mine is the Heart: Hey Maloney: No Place Like Home: Take My Hand: Run Free Right Now

Encore: Green Grass