Oct 2026 – devizine.com

There’s musical acts which play united on equal pegging, and then there’s those which follow the lead of a virtuoso. Be it guitar, like Hendrix, the poetry of Dylan, or trumpet like Miles Davis, any specific field of expertise, but none are so emotively poignant as the human voice….

It would be unfair on anyone to compare their vocals with Bristol-based singer-songwriter, Lady Nade; I have to save this for the likes of Anita Baker’s rich phrasing and control, the gospel roots of Aretha Franklin’s, and, particularly, the smoky contralto of Nina Simone. Lady Nade has a new album, Indentity, out tomorrow, Friday 2nd October, a deeply personal album of self-discovery, self-acceptance and the courage to show the world who you truly are; it does, sublimely.

The more I immerse myself into this album, the more intricate details I discover. Lucky I don’t give star ratings out of ten because there aren’t enough in the galaxy to award this treasure trove with what it deserves!

We first reviewed a Lady Nade album back in 2021, Willing, where it was heavy with nods towards country influences, and I waffled about Ray Charles’ affection for the genre. This time, with only subtle sprinkles of roots, more of jazz and blues, the concentration though is soul. This lady takes on every subgenre of soul, track by track, and even with the blending of other styles, by the meaning of these ingeniously penned songs and Lady’s extensive vocal range giving them emotive deliveries, they win every time.

Other than the general theme of courage and self-acceptance, there’s no precise running concept through the album; it is a collection of independent songs, where each holds its own narrative and prose; often of transformation, hope or resilience, but each one amazing within its own category.

“Identity exists because of the love that surrounds me,” Lady Nade says of the album. “I hope these songs offer a safe space for anyone who has ever felt they had to hide parts of themselves to belong. We all deserve to be seen, heard and celebrated for who we are. This album is a reflection of what it means to be human, and to stand in our own truth.”

If there’s an objective embedded into the album, it’s most prominent with the metaphoric penultimate song, Masks, a lounge jazz earworm which really brings the essence of Lady Nade’s homage to Nina Simone. Where it is that the album is honest reflection, and effectively “unmasks” the Lady behind, the summary is in the conclusion and the last single to be released from the album, Bloom; the empowering cure, an uplifting motive, akin to Heather Small’s Proud, but so much more delicate and subtle, it’s awe-inspiring.

The theme of strength above the odds kicks in with the title track at the opening, and it’s a funky introduction. Funk makes a huge return halfway through with the righteous Stand, to make Marva Whitney blush. But the prospective love single One of Us comes second, with these subtle roots elements, and an irresistible singalong chorus rich with upbeat pop commercial viability; whoa, there’s a lot going on with this Identity, but as with any, they’re multi-layered.

With a beautiful acoustic guitar riff, Rainbow, brings the uplifting sentiment into play with the most prominent nod to folk roots. And while there’s delightful ballads like Powerless, there’s Sober, the doo-wop inspired catchy little handclapping beauty that it is.

The most vivid in subject is Smoke & Mirrors, and undoubtedly of the least abstract or of personal poignancy. It’s a jazzy homage to Hattie McDaniel, telling the story of Georgia’s racial segregation causing her to be banned from 1939’s Gone with the Wind premiere, and even at the Oscar ceremony in Los Angeles, where she was required to sit at a segregated table away from the rest of the film’s white cast and crew.

The remaining songs, though, are more personal, and open to the listener’s reflections and interpretations, and with a voice like Lady Nade’s, one which Cerys Matthews of BBC Radio 6 Music describes as “a pure voice that gets stuck in your mind,” it is impossible not be immersed in this wonderful album.

Identity is out on the 2nd October 2026. Lady Nade will celebrate the release of Identity with a UK headline tour running from Friday 6th to Saturday 21st November 2026. If you recall, you lovely local people, Lady Nade did bless Devizes Arts Festival, it was one my all time favourite gigs in Devizes.

Tomorrow, Friday 2nd October, sees a new single from Chippenham indie folk singer-songwriter Meg Hoy, or M3G, and it’s called My River…..

If you deem songwriters using rivers as metaphors as a bit cliché these days, from Springsteen’s safety net for the burdens of youthful relationships, or Joni Mitchell’s desperate escapism, to Billy Joel’s spiritual quest, or Neil Young’s haunting impulsive act, I’d nod, and tend to agree…but…

Rivers often, and arguably more simply, represent the relentless passage of time, a comforting escape from relationship issues, or bold life or spiritual journeys. I’ve expressed the originality in past reviews of Meg’s songs, and how she angles subjects with breathtaking honesty, and completely unique prose. My River is the perfect example, for here’s a commonly used subject, but Meg uses the river more as emotional balance; a kind of psychological therapeutic acupuncture.

“The timeless presence of my river helps me find perspective through my pain,” she said, explaining “I grew up on and around the River Avon, it has been a constant in my life, something I can always rely on to be there.”

“Another constant over the past seven years has been my pains and aches throughout my body. I wrote this song as I was being diagnosed with Fibromyalgia. Coming to terms with the fact that there is nothing physically causing all of my pain and that it would be around for the rest of my life was something I did not want to do. But as my pain will continue, so will the river that I love.”

Perhaps the most appropriate song about rivers to compare this by composition to, is The Byrds, Ballad of Easy Rider, which Dylan famously scribbled the chorus to on a napkin for the director, Peter Fonda, because both flow like rivers.

Acoustic for a minute, until subtle layers of chanting develop, and the whole composition of Meg’s river themed song builds in intensity to a climax of ultimate expression, just how a river builds its flow to an estuary. My River presents Meg vocally more mature than anything past. The effect is spellbinding.

“The name ‘Avon’ comes a Celtic word used thousands of years ago to mean river,” Meg said, “so the River Avon literally means the River River!”

Equally this song is so intensely beautiful, it should be named twice!