Tag: americana

The Lost Trades Float on New Single

I’ve got some gorgeous vocal harmonies currently floating into my ears, as The Lost Trades release their first single since the replacement of Tamsin Quin with Jess Vincent way back in February, and its immediate impact clearly says a Lost Trades classic…..

If some previous songs of The Lost Trades had a lead vocal, they’re not the Spice Girls so I couldn’t pick a favourite, and the trio are truly at their best when there isn’t a lead and the song centralises on their astounding harmony! Float Me On Your River is one of those, four minutes plus of a simple sentimental premise with a sublime delivery. The new addition Jess fits like a glove to Phil Cooper and Jamie R Hawkins’ vocal range, and the song rings out with the quality passionate ambiance we’ve come to expect from the trio.

It comes with an accompanying video from Jamie’s Side Owl video production project which, if nothing else, suggests The Lost Trades like their sandwiches cut into triangles; these things are important to note.

Float Me On Your River Streaming Now HERE

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Barrelhouse are Open for Business with New Album

Rolling out a Barrelhouse of fun, you can have blues on the run, tomorrow (7th November) when Marlborough’s finest groovy vintage blues virtuosos Barrelhouse release Open for Business, their third studio album indicative of their astounding live show…..

Tim and Stuart’s dramatic guitar riff from the off, Dave Growcott’s drums kick in and Open for Business doesn’t wait around for you to hang your barn jacket on the juke joint’s hall tree. Nick’s growling harmonica strides into the room next, all guns blazing, and we’re like a greyhound out of the traps when Martin grits his teeth and presents his deep encapsulating howl.

If the black cat bone mentioned as the title of the opening tune is a hoodoo lucky charm for protection and luck, it’s unnecessary, expeditiously it magically assures you’re in for a rocky ride to the dusty crossroad, with minimal pitstops and without the need of any such luck.

It doesn’t calm the zest frenzy until the third track either, an absolutely sublimely haunting cover of The Beatles’ Come Together, where Hedi’s backing vocals compliment Martin’s with such unbelievable harmony it smooths out the pace welcomingly.

Things go country for a ballad to Lydia, which I snooped through the interweb searching for an original version only to be informed by Nick Beere, more than just a mouth organ, rather the producer and engineer behind the album via his studio Mooncalf, that guitarist Tim wrote the song. Reason for my research being, it’s magnificence is instant, it simply sounds like a singalong country classic akin to The Band’s The Weight, which is also superbly covered penultimately on the album, btw. Then it’s back to full steam blues workout when they repropel Muddy’s mojo, a second Muddy classic into the melting pot, and belt the living daylights into Canned Heat’s On The Road Again.

Classic Americana come edgy blues rock cover choices, the ambience of Barrelhouse I’m illustrating you might wrongly convey in generalisation as “they’re a serious bunch of hard rock dudes,” but there’s a subtle frivolousness in their delivery which charms a crowd. Their labour of love is reflected joyfully outward to an audience without a pretentious mood, and fondly thrown back at them with an enthralled response, making their shows atmospherically interactive and thrilling. The experience in comparison to your atypical morose blues band is one rather of danceable merriment; a tick from me.

Mantonfest 2023 Image Gail Foster

If a song is original it’s hard to distinguish them from classic covers, Barrelhouse combines them into a seamless show, and makes an irresistible party album. A party appealing to Mantonfest’s youthful fanbase, who’ll invade the dance area when Barrelhouse mount the stage, and impress the matured Devizes blues aficionados with equal measure.

A Bo Diddley beat polishes this album as a grand finale, but if polished ramped serious blues cuts melds with an effervescent delivery is their working formula, its true beauty rests in the simplicity of its production. There’s no technical studio skullduggery here, no manufactured overdubs; what you hear is what happened in real time. Each song is recorded in a single take, making it not just authentic but the perfect representation of their energetic and entertaining live show. Something the band pride themselves in. If you’ve ever seen an amazing band live, only to be disappointed by the CD you brought because it didn’t match the splendour rawness of their performance, this is not the case here. Open for Business is taking the Barrelhouse show home with you. That’s why it’s a keeper.

But don’t take my word for it, next Saturday (15th Nov) sees the album launched at St Peter’s Marlborough, with support from 7pm. It’s free and copies of the album will be available on CD and vinyl. And if you can’t wait for that, this coming Saturday (8th Nov) Barrelhouse will turn the Devizes Southgate into their own juke joint, a legendary occasion blossoming in modern folklore, as Devizes loves the blues and word got out via a toothless milkman.

Failing these options, they’ll be donning Santa hats and bringing out the tinsel at the Bear in Marlborough on 20th December, when you can almost taste the pigs in blankets in the ether.

REVIEW – The Lost Trades @ The Piggy Bank, Calne – Tuesday 18th June 2025

Five Have An Out-of-town Experience

You can’t always get that live music experience you crave by simply staying within the walls of D-Town.  Sometimes, and especially when there’s a  band playing that you simply have to see, you just need to get the gang together and pile into a motor to visit the wilder Wiltshire provinces.  And so it was last night that we ventured over the hill to Calne.  We found the border post un-guarded, and so we slipped into the town and found our way to The Piggy Bank micro-pub to see The Lost Trades……

The Piggy Bank has been a surprisingly good little venue over the past year or two, featuring some great nights with, among others, The Rob Lear Band, The Black Feathers, Jess Vincent, and Jinder, as well as pop-up dining nights, quiz nights and (a big favourite of mine) Crazy Bird comedy club nights.

Just in case you don’t know them, The Lost Trades are a trio who play folk/ Americana with a cool Laurel Canyon vibe. With a sound that is reminiscent of the California folk scene of the late 60s/early 70s, (we’re thinking here of Crosby, Stills, Nash & Young), their three part harmonies have been previously described as “flawless”, “spine tingling” and “magical”.

Formed in late 2019, the global Covid hoo-hah cut short their first tour after just a single sold out gig.  The band shrugged their shoulders, and retreated to their respective song-writing rooms to work on what was to become their debut album, “The Bird, The Book & The Barrel”, released in June 2021. The follow up album, “Petrichor” was released in March 2023. Both are highly recommended – trust me!

Then, just last year, one of their founding members, Tamsin Quinn, decided to leave the trio to pursue other interests.  Bit of a shock.  Was this the end for The Lost Trades, we all wondered?  Not a bit of it!  Tamsin has now been replaced (if replaced is really the right word) by the very talented Jess Vincent, who had recently returned to the UK after a few years away in Bulgaria.  

The result of all that is that The Lost Trades now consist of:

· Phil Cooper (vocals, acoustic guitar, electric bass), a performer not unknown in the local area for many years, both as a solo performer, as well in various bands, and a guy who knows his way around a recording studio and the producer’s job;

· Jamie R Hawkins (vocals, acoustic guitar, electric bass, ukulele), also massively well-known locally, especially in venues around D-Town, for his wonderful solo performances and some great songs. Indeed a bunch of us had slipped over to The Pulpit (ex The Little Hop) in Old Town, Swindon only last week to witness a really excellent solo performance at that new musical venue;

· Jess Vincent (vocals, guitar, percussion, shruti box).  Jess first came to notice singing with Penny Red, before branching out into a solo career that produced several albums (Time Frame, Seesaw Dreams, Shine, and last year’s Lions Den)  

Between us five we’d seen The Lost Trades in their old formation many times before, but this was to be the first time with new band-member Jess.  How would this all work out?  Would the sound and the dynamic have changed?  And if so, for better or worse?  Well, in sum, we need not have worried.  Despite a massive learning curve for Jess to pick up the band’s performing repertoire in just a few short months, to say nothing of having to re-blend all of their trade-mark close harmonies, the end result was spectacularly good.  It was neither better, nor worse, just slightly different and more developed and mature.  Right from the first number we knew that the magic had remained intact.

All the old stuff was still there – the constant and easy interchanging of instruments (including guitar, ukulele, bass and percussion), the close three-part harmonies, the well-worked song material, and the light-hearted intimacy, with the group engaging in comfortable repartee with each other and the audience like a group of old friends. And there were a lot of old friends in the audience to help them along.  And, of course, the many familiar songs.

But there was some great new stuff too – new songs, a different female vocal line, new instruments, and (obviously) a new personal dynamic between the three performers.  All of them had played The Piggy Bank before, and all to packed houses, so there were no nerves about any of that.  And last night, in front of yet another packed house, they managed to produce a truly spell-binding performance once again.

My only (very slight) reservations about the evening were that I needed slightly less chat (some of the introductions were as long as the songs!) and I would have liked slightly more of Jess (the two boys tended to dominate proceedings at times).  But, hey, these are very simple things to be fixed and developed, and didn’t in any way detract from all the superb quality of the music they delivered in their three sets (or “spasms” as Phil nicely put it).

There were no lashings of ginger beer, but the music flowed, the craft beer certainly flowed, and a jolly good time was had by all.  Then, under cover of darkness, we fled through the night back to the safety of D-Town, our out-of-town mission successfully accomplished.

Hopefully there’ll be more music dates to come at The Piggy Bank in the autumn.  But, meanwhile, if you want to see The Lost Trades live in concert (and I strongly recommend that you do!), they’ll be appearing locally as below:

Future dates for The Lost Trades:

Wednesday 23rd July 2025 @ The White Bear, Devizes

Friday 25th July 2025 @ Trowbridge Festival  

Friday 26th September 2025 @ The Pump, Trowbridge

Saturday 27th September @ The Hop, Old Town, Swindon  

For more information go to thelosttrades.com/ 

Thieves Debut EP

Adam Woodhouse, Rory Coleman-Smith, Jo Deacon and Matt Hughes, aka Thieves, the wonderful local folk vocal harmony quartet of uplifting bluegrass into country-blues has a four track debut EP; who knew?!

I only found out through talking with Adam about a merch table at our forthcoming RowdeFest, where you can, incidentally, find Thieves playing, but at any gig you’re lucky enough to catch them at, I suggest you pick up a copy of this little showcase disc; they’re our very own resident Carter Family….

Opening with Calne’s Jo Deacon on lead vocals, who also sings solo and with soul function band the Midnight Hour, Coming Back For Me is beguiling and uptempo, refreshing bluegrass fashion. Yet Working Man, which follows, slides the divine ambience into mellowed country-rock. With Adam on lead vocals, I’m thinking Neil Young, the Byrds, and all those irresistible Americana classics, which imagines you’re heading west through Oklahoma on a Harley with Dennis Hopper and Peter Fonda.

Probably the highlight of this EP is the penultimate, Now You’re Around. Five minutes of total bliss, with Jo back on vocals and some seriously intricate melodies, combining the talents of Rory’s resonator, Adam’s mandolin, and Matt’s upright bass, you can sense Jo’s soul experience, as it rings out as authentically Americana as Janis Joplin playing Woodstock with Crosby, Stills & Nash. And still I hear something decidedly UK folk here too, of Fairport Convention, perhaps. I’m no connoisseur, just know what my ears like; it’s all a melting pot, and Thieves stir it with delicate precision.

And in that, I’m unsure about the name Thieves. Certainly the genuine sound of America is pinched if not more agreeably heavily influenced by, but it might suggest there’s something edgy going on, when this is dinkum, universally appealing sunny side of the street melodies; the kind of folk the eldest in the crowd will tap their toes to while children will merrily twirl barefoot on the grass.

It was a series of coincidences when I first saw them at Bradford Roots Festival a few years ago. From a distance I thought ‘that guy looks just like Adam Woodhouse,’ (and maybe a smidgen like MacGyver too!) but upon hearing them perform I thought of The Lost Trades, turned to tell the person standing next to me, who just happened to be Phil Cooper of the Lost Trades, who nodded his trilby in approval; a fine accolade indeed. “It is Adam,” Phil replied! Oh, yeah, so it is; I didn’t need to go to Specsavers, because their wonderful sound pulled me closer.

We finish the EP with a ballad called Lately, which Adam and Jo duet, and it’s so beautiful and moreish, leaving you suspended on what’s to come from Thieves, but rest assured, here’s a wonderful quartet which can hold a crowd spellbound.

Find where Thieves are playing on our local circuits by following socials Facebook Insta for gigs, and hopefully catch them at Rowdefest on Saturday 31st May? It’s free, bring me a haslett and cucumber sandwich, I’ve arranged the acts, I won’t let you down.

iTunes Link

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Phil Cooper is Playing Solitaire

Trowbridge singer-songwriter and one third of The Lost Trades, Phil Cooper has actually been doing more than playing solitaire, he’s released a new solo album called Playing Solitaire…..

Released yesterday (2nd May) Playing Solitaire is Phil’s first solo album in five years. The last being These Revelation Games in 2020, which was a varied bunch where Phil experimented extensively. Perhaps lockdown inspired artists to scrutinise and pilot new ideas, though through his part in the Americana harmony trio The Lost Trades, fronting the harder rocking The Slight Band, and BCC project, where Phil dives into synth-pop, he’s never been one to shy away from testing new waters. But the principle beauty of Phil’s work lies in the simplicity of his idiosyncratic and solitary acoustic outpourings, a clear and clean line of self-reflection, drenched in honesty and poignancy, and that’s precisely what you’re getting with Playing Solitaire.

Apologise for the delay in announcing this; I had to take one more listen this morning, before deciding if I should call this his best work to date, as he’s a prolific artist with an outstanding discography already. But I think I can safely say, because of the wonderful way this flows, coalescing in mood and style, I think I can safely suggest that it is.

If an all-out anarchistic thrash of rock n roll is what you require, this isn’t for you. For everyone else Playing Solitaire is beautifully crafted and passive, gorgeously taut and accomplished. There’s no whimsical introduction. “Look out world, I’m here to stay,” Phil confidently announces without warning; good! Because Phil knows precisely how to construct a song, and it’s this dedication to composition where he shines best. The opening song, Still Holding My Breath is quintessential Phil Cooper. It’s the acme of his observational writing, a homage to the notion hard work pays off, a characteristic we know Phil well for.

Moving to the next tune, romantic dejection is his soft play centre topic, and oh, how you wrote that note, disregarding how it might be interpreted by the receiver; perhaps we’ve all been there. If it’s a personal reflection, you identify, and the magic lies at the feet of this contemplation, the very magic of Phil’s words, song and ability to combine them, hard at work. And this is an observation we could make to summarise the whole album.

That Easy Road, is remarkable heart on a sleeve content again, it drifts with a stormy sea metaphor to convince himself he’s loved. Another peace of mind ballad follows, then Bijou comments on struggling grassroots music venues, and even if I’m not a musician, it’s exceptionally touching and poignant. The passion Phil delivers this with and the construction of the riff, it’s my personal favourite on the album, maybe replacing Road Songs, my past fav Phil Cooper tune. 

Halfway mark of this ten strong album, and we’re in another foreboding place with Beauty in the Cracks, a frustration at progression, perhaps. Uptempo, and we’re on a lighter note next, followed by a live favourite, They Will Call Us Angels. Eric Bogle fashioned or Guthrie, even, if we suggest an Americana route, but we’ve definitely arrived folk inspired by his work with The Lost Trades. Phil glows through a moving account of a frontline medic, and it’s something kinda wonderful.

Maybe Phil lessened on the deeper narrative in the middle of this album and left three moreish golden nuggets to finish on. Directionless is as it says on the tin, it drifts, and rises halfway through. And we finalise akin to where we began, a little self-help guide type lyrics, but hey, Phil is always on-point. It is an almost one-man choral twinkle, defining Phil as a perfectionist.  

If you worked with Phil in an office, he might be the friendly confidant you relay you’ve prepped nothing for this meeting, and he’ll assure you he’s done equally poorly, and then, at the meeting he’d turn up with a full presentation! Not a show-off by any means, just a dedicated precisian, motivated to the hilt, but seemingly oblivious of the haphazardness of the more spontaneous type, and that’s a rare trait in a musician, making for something individual, solitary, like the one who plays solitaire when they could engage in a two-player game, usually with our Jamie!

Image: Andrew Bert Greaves Photography

This album gets top marks as it reflects his personality sublimely, even by title, and you take a little bit of Phil Cooper away with you. In other news, The Lost Trades are back in the picture since the departure of Tamsin Quin. Jess Vincent takes her place as the third Lost Trader, their touring dates are announced, and we look forward to seeing them with the new addition. For now, Playing Solitaire is out, and you can find it HERE.

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“My Dad’s Bigger Than Your Dad” Festival, Old Town Gardens, Swindon July 20th 2024

by Ian and Paul Diddams
photos by Ian Diddams and MDBTYD Festival

The 4th iteration of MDBTYD Festival was held on Saturday at its home of homes, Swindon Town Gardens. Last year Devizine covered the proceedings with Darren venturing northwards, and his thoughts and explanations can be found here

My Dad’s Festival overcomes the rain and raises nearly £9,000 for Prospect Hospice

You can find all the background to the festival in Darren’s post, but I can add that this year in 2024 over £8000 will have been raised as I write this with other monies still coming in – in that vein it’s not too late to donate!  Just follow the link here.

If you CBA to read Darren’s 2023 post, a summary is that the MDBTYD Festival seeks to raise funds for Prospect Hospice in honour and recognition of Dave Young, a mover and shaker in the Swindon music scene before his passing in 2021. This is generously aided by the primary sponsorship of “Future Planning” Independent Financial Planners as well as support from Jovie Grill, Funky Corner Radio, Swindon PA Hire, Jamaican Me Crazy, The Tuppeny, Holmes Music, Vibish Brewery, SPR Garage, The Castle, South Swindon Parish Council, C.P. Jeffries, LF, Mamas Events, T Marshall Services, Originzone, Scarrots fun fairs, Hills and Platinum Security services.


While not totally perfect, nonetheless the weather this year was better than last year’s it has to be said although that bar was pretty low! Nine hundred souls joined in the fun in Old Town Gardens, and as in previous years enjoyed acts both in the festival arena on the main stage but also in the Acoustic stage in the band stand in the main park, as well as the craft market and fair ground. In fact it must be said so incessant was the music offerings in the main arena that these correspondents hardly managed to get to the Acoustic stage but that is no slight on the acts there – and if “Plummie Racket” was anything to go by when we did manage to squeeze a couple of numbers in the quality was high! For future reference to the great Devizine readership, the acoustic stage, craft market and fairground is open to the public though Im sure anybody availing themselves of the “free” offerings would be chucking a suitable donation in a bucket online of course.


So – the main arena. What a cornucopia of delights! All Swindon/Wiltshire based bands with local followings and the standard started high and maintained itself throughout. Without going into glorious technicolour detail across the board (else we’d be here until Christmas writing and reading it all) our musical pleasure zones were in turn tickled by “Copper Creek” with Americana style folk to start the toes a-tapping, “Broken Daylight” & “JB and The Mojo Makers” each with their own brand of driving rock and blues, and then “I See Orange” – a quite excellent Grunge, hard edged band with on stage attitude par excellence…  sporting a bright orange bass…  what came first the band name or the bass we wondered?!  “Thud” blew us away with more driving bluesy rock and were followed by the stunningly vocalled “Joli & The Souls”.
And lets not forget the “surprise” visits from “Ministry of Samba” !!


Eventually as evening began the crowd got what many were here to see – “The Chaos Brothers” an eclectic mix of punk, glam and new wave covers from Calne and Dave Young’s last band. And thence to the total treat of “Gaz Brookfield and The Company of Thieves”.  Gaz is well known in these parts as a solo performer, but he has appeared for quite some while periodically with a bunch of assorted ne’er do wells “The Company of Thieves” and its becoming more common I have noticed of late for the full band experience to occur. But whether solo or a-Company-d (see what I did there?) Gaz’s tunes are a roller coaster of emotions from poignant, to laugh aloud, to reflective, to angry. He – and the Thieves – never disappoint.

Sadly our carriage awaited to return us to the depths of the county and Devizes so we missed SN Dubstation but their reputation precedes them and I have no doubt they were their spectacularly entertaining selves 🙂

Now of course festivals are so much more than the bands of course. There is one area that is on the lips of seemingly every festival goer to every festival I discuss …  the LOOS! Well, the loos were sparklingly clean, delightfully fresh on the nostrils and plentiful – I never had to queue all day! The bar – another important aspect of festival days of course – did have queues but that is testimony to the excellence of the products available and it is always lovely to spend time chatting to other attendees. On a personal note, we both felt the beer offering was absolutely spot on …  a Vibish pale ale with a hint of Melon (a nod to Dave Young’s quote that he didn’t want his beer to taste of melon!).  The bar was provisioned by “The Tuppeny” with some proceeds going to Prospect Hospice too.  That of course just leaves – the food! The usual popular array of burgers, hot dogs, and hog roast – and chips! – from “Jovie Grill”, but another personal hats off to “Jamaican Me Crazy” for their fantastic Caribbean food …  curry goat, jerked chicken, rice and peas etc. etc. etc. Simply great!


And so the day came to an end. It had flown by – a tribute to the high standard of acts and the enjoyment of the day. MDBTYD 2025 planning is already under way and it is sure to be even better if that is possible than this year’s.

See ya there ?

https://www.mydadsbiggerthanyourdad.co.uk/

And for more musical splendiferousness in the same vein for Prospect Hospice is the upcoming “The Shuffle” – Swindon’s biggest festival of unsigned grassroots music, 12th-15th September!

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Chatting With Burn The Midnight Oil

It’s nice to hear when our features attract attention. Salisbury’s Radio Odstock  picked up on our interview with Devizes band Burn the Midnight Oil and…

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Blessed are the Toolmakers – Mark Harrison at the Queens Head, Box April 28th 2024

by Ian Diddams
images from Mark Harrison Facebook

Last summer I was lucky enough to see Mark Harrison play at the “Tangled Roots” festival over Radstock way (highly recommended that is too, for a laid back weekend of camping, workshops, and americana/roots music!). So when I saw him appearing on a Sunday night card at the Queens Head, Box it was too good an opportunity to miss.

It was my first visit to the venue which clearly sets itself up as a genuine music venue with its dedicated performance room, aided and abetted by “Schtumm” the promoter of music events here; a good space reminiscent of “The Tree House” at Frome, “The Pump” at Trowbridge and nostalgically “The Fold” in Devizes.. A quick word here too for the pub – a free house offering last night St. Austell ales. Most acceptable.




Mark – a.k.a by his blues monicker “Morose” Mark Harrison – has a relaxed, laconic persona with a lightly cynical view of life. Right up my street. His music is loosely “blues” – though he himself says “but it’s not stuck in the past. I’m tapping into the timeless quality of the early blues to produce music totally relevant to the present day.” Mark plays a 1934 National Trojan resonator guitar, previously owned by Eric Bibb, and he uses a finger plucking style rather than strummed chords.

It was a bijou, intimate crowd at the Queens Head – which as the other act of the night, Jinder, jokingly opined just means “small room, small crowd”. Well, how lucky were WE at such a bijou, intimate gig? Mark played a 75 minute set which might have been 80+ minutes had he not forgotten how one of his own songs started 😊; I’ll cut him some slack… he has another 98 he can remember to choose from after all… Mark’s lyrics are not so much about his own life – “I don’t want to hear about my life, I have to bloody live it” (or words to that effect!) – but about his view on society and the changes he has seen in it in his lifetime. He grew up in Coventry surrounded by car manufacturing, went away for a weekend and on his return the car factories had been replaced by garden centres. People that did real jobs replaced by Marketing Consultants. People with … irritating haircuts… Real activities replaced by twitter – oh sorry Mr. Musk…  “X”. In this vein his numbers “The Wild West”, “The Great Stink” and “Toolmaker’s Blues” encapsulate this exasperation and incredulity.

This is not a political standpoint though, to be clear. Just a reflection of one man’s interpretation of a few decades through the medium of blues influenced music. Songs are interspersed with humorous and/or pointed stories and anecdotes. Often with a pithy, short epithet at those responsible for society’s ills…


Mark’s songs are in many ways stories in themselves, drawing you in with clever lyrics and the haunting finger plucking – simple stuff but (lest this sound damning with faint praise) so skillful yet easy on the ear. Its not until you start watching his fingers dance over the strings you see how there are two patterns going on simultaneously by his thumb and index finger, using the strings as two separate areas while his left hand works the frets on the higher strings.

All too soon the show was over. Eleven songs, eleven chats. A view of life and death in Bognor, the tribulations of late night driving and route diversions, social history… covid and lockdown as a metaphor for 21st century life.

He also has a phenomenal memory; whilst chatting to him after the gig and buying his latest album he asked me if I’d met him also at “Tangled Roots” last June!  I can’t remember what I had to eat this morning!

If Mark is playing near you, go and see him.

If he isn’t, buy his music.

In fact – do both!

Mark Harrison Music
Web: www.markharrisonrootsmusic.com
Twitter/X : @mharrisonmusic
Facebook: markharrisonmusic
Instagram: @markharrisonbandofficial
Youtube: markharrisonband
Bandcamp: https://markharrison.bandcamp.com/music

Setlist
Tribulation Time
Ain’t No Justice
Black Dog Moan
Road Ahead Closed
The Wild West
The Great Stink
More Fool Me
Go Nice
Highgate Hill Blues
Toolmaker’s Blues
Easy Does It

Familiarity: Barrelhouse Take The Southgate, Roughcut Rebels in The Three Crowns

Familiarity was key for me last night, if last weekend was new, trekking to Swindon for their soul and jazz festival, watching an amazing Gambian musician play a string instrument made from a cow skin covered pumpkin. Cue the theme to Cheers, sometimes I simply want to get down to my local, see a band I’ve seen umpteen times, and love, make no notes, take a few blurry snaps, and naturally, blow off work-day stress by sinking a few ciders too many, and when I do, The Southgate or Three Crowns in Devizes are my go-tos….

Apologies if we’ve covered this ground before, a number of times, but Devizine is a hobby. Therefore, I reserve my right to enjoy doing it! Not forgoing, I enjoy the adventure of finding acts I’ve not seen before and exploring new venues equally to the comfort of familiarity, so when Barrelhouse are in town the temptation is too much to resist; I’m legging it in the April drizzle to catch the bus!

There were two free live music options in D-town last night, both as valid as each other, as usual for a Saturday. The trusty Three Crowns had a new look Roughcut Rebels, those established mod to Britpop local favourites. I’ve had some reservations about recent lineup changes, but I’m aware there’s a new guy fronting the team. I must poke my nose in to investigate. So, too, did former members Finley and Mark, I jested to them that they were on the bench, but substitutions were unnecessary.

Only original lead guitarist, Weller-mod-cut John Burns remains, yet with proficiency cool as a cucumber, the new frontman, Jake Lockhart is unpretentiously smooth, bassist on cue, and a stickman who clearly knows his way around a drum kit. They roll out Kinks and Stones classics delightfully, I’m guessing this is going to go Britpop before long, and while I’d personally favour the setlist works in reverse, I’m not of the millennial majority in the Crowns the Rebels need to appease. I can ascertain they did, from their opening alone.

It only took a few songs to accept these guys had it in the pocket, and it was impendingly obvious the Three Crowns will explode into party mode post-haste, it always does by providing the best tried and tested cover bands. Like I say, familiarity. Time for me to grab my zimmer frame and join my own age demographic down at the Southgate; those Marlborough purveyors of sublime vintage blues must’ve soundchecked by now…

And so it was, The Southgate, as warm and welcoming as ever; found a place in the blossoming crowd of elder gig bunnies, and let Barrelhouse do their thing. If I do local circuit analysis and Marlborough comes up decidedly post-punk new wave and gothic, Barrelhouse better appeal to Devizes, perhaps; the Mel Bush effected blues aficionados. Although Barrelhouse is best served on hometurf, you should see the crowds turn out at Mantonfest; it’s a Marlborough blues phenomenon.

I’ve been telling Devizes this since they first appeared at our trusty Gate, to play to a slight crowd, an attraction which builds with each visit they make. Tonight was no exception. It was medium busy as they presented their wonderful show, squashed into the famous alcove, but with the passion and gusto they possess and input into every gig.

Turning the Southgate into a juke-joint is an easy feat, punters love their blues above all else. Though the Gate strives to bring a wider range, you only need to be there for the monthly Jon Amor Trio residency to confirm this. Barrelhouse is apt here, then, but it remains to be that some regulars still need to take heed of just how much these guys will rock them. Those present know the score now, Barrelhouse came, saw, petted the pub dogs, hung T-shirts over the toilet sign, and entertained superbly, again!

When they come your way, do check them out, I don’t fib, not about this anyway! The band are tight, the blues is vintage, with a fiery modern rock twist, in their calculated, balanced setlist of Muddy Waters, Howlin Wolf and other Americana covers, their own compositions which have become as anthemic as the classics to fans, and the brillant rock adaptations such as Motörhead’s Ace of Spades.

Frontman Martin Hands is hands-free, with no instrument other than his confident and convincing gritty delta blues vocals. The band complimented him, Tim is a guitar enthusiast, and his skills shine through. Stuart equally on bass, who acts as compère too. Nick adds to authenticity with harmonica, but it’s no secret he’s an authority both on, backstage, and in music production. 

Even Martin’s fiancé Heidi sporadically guests backing vocals, as do others affectionately dubbed ‘Barrelettes’ when available, giving the band a real family feel.

Encoring Solomon Burke’s Everybody Needs Somebody to Love is standard protocol for Barrelhouse, and they’ve achieved their aim; the pub is pumping, and everybody is dancing. Another memorable evening at the Southgate, you can bet your home most nights are. Check our event calendar for upcoming gigs, but rest assured, thanks to them and the Three Crowns, Devizes remains punching above its weight when it comes to showcasing live local music and while our ticketed events only add to this, there’s gemstones to be found here freely. And we love it!

REVIEW – The Lost Trades @ The Piggy Bank, Calne – Tuesday 16th April 2024

by Andy Fawthrop

The Start of Something Big?

Off and on we’ve been writing about The Lost Trades for a couple of years now.  Combining the individual musical talents of locally-based Phil Cooper, Tamsin Quin and Jamie R Hawkins, we’ve always been impressed with both their digital recordings and with their live performances.  Last night, as part of their current UK tour, they came to perform what was basically the first live music gig at Calne’s premier craft beer bar The Piggy Bank.

Although the Piggy is fast approaching its third birthday, this was the first ever dedicated live music night.  Previously there had been pop-up food nights, quiz nights and comedy nights, but finally it was time to combine the two finest complementary ingredients – fabulous acoustic music and great quality craft beer.  And what a success it was.  The local Calne crowd, who had always supported these events from the start, turned out in droves on a chilly Tuesday night.  Sold out some weeks ago, the room was packed.  This is after all a micropub, and not a concert hall, so space for both performers and audience was at a premium.  But was that a problem? – not a bit of it.  It was, let’s say “cosy”, and all the better for that.

Describing themselves as a “vocal harmony and multi-instrument trio with a cool Laurel Canyon vibe”, with a sound that is reminiscent of the California folk scene of the late 60s/early 70s, The Lost Trades’ three-part harmonies have been described as “flawless”, “spine tingling” and “magical”.  And with very good reason.

Playing tracks from studio albums 2021’s “The Bird, The Book and The Barrel”, and 2022’s “Petrichor” and their very recent live album, the Trades delivered a sparkling night of musical entertainment.  Their performance included the now-expected frequent swapping around of instruments, with each of them playing bass, guitar and percussion at different points in the show, and the usual relaxed, easy rapport both amongst themselves, and with a very willing audience.  They’re clearly comfortable now with their material, and obviously relaxed in each other’s company.  This closeness pays dividends.  As ever, their harmonies were spot on, with lovely acapella sections suddenly emerging in the middle of many songs.

Taking it in turns to introduce and explain the songs, and the meaning behind the lyrics, the three friends took the audience with them.  There was a wonderful intimacy established in the room as their three sets progressed, and the audience (usually quietly spell-bound during the songs) responded with loud and warm enthusiasm.  I’m no expert, but I’m pretty sure they made a lot of new friends last night!

An encore was an absolute formality.  A nice feature of such a packed room was that there wasn’t really the space for the band to do that formalised “let’s walk off the stage and then come back on again” routine.  There could be no pretence in such an environment.  The three of them were pinned to the stage, duly delivered their lost song, then took a well-deserved bow before a cheering crowd.

Difficult to top that – a simple ten out of ten from me for a great night’s entertainment.

So – is this the start of something big for both The Lost Trades, and for The Piggy Bank as a new Tuesday night music venue?  Time will tell, but both have now got the wind in their sails, so watch this space!

For more info you can always head over to thelosttrades.com and piggybankpub.co.uk  

Future gigs at The Piggy Bank are listed below. Most are already filling up, with only a few tickets left, so if you want to grab some top-class keenly-priced entertainment in Calne on a Tuesday night,  you know what you need to do!

Future music (and other) events at The Piggy Bank:

Tuesday 14th May  The Black Feathers

Tuesday 21st May  Crazy Bird Comedy Night

Tuesday 18th June  Jon Pearson “What Have You Been Up To?” (Comedy)

Tuesday 25th June  Jess Vincent & Katie Whitehouse

Tuesday 16th July  Crazy Bird Comedy Night

Tuesday 23rd July   Rob Lear Band

More information on these gigs (and tickets) are available via the pub’s Facebook page or on https://www.piggybankpub.co.uk/music

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Peace, Love, Americana and Jol Rose

I trouble procrastinating upon being gifted a previously released CD from an artist for review, unfortunately they land on the backburner, prioritising upcoming news items. I swear to myself, “I must get on and review that,” especially when it’s as brilliant as Jol Rose’s 2023 album, Peace, Love, Americana. So, that’s my box to tick today…..

A surprising brilliance, for while I’m aware of his popularity on the Americana scene, and particularly in his hometown of Swindon, it was only a brief encounter at Bradford Roots Festival in January, where he handed me this beauty. He was on early, see? I could still taste the toothpaste, had to locate the room in the lovely labyrinth of the Wiltshire Music Centre, and once done the room was full and I couldn’t get in until someone left; few did, now I know why.

Ergo, I caught his last few songs, recalling the upbeat, happy-go-lucky and amusingly fruity Make Some Hay, which though on the album, I realise after gorging myself on it’s sublime observations, portrayals and wonderful Dylan-esque folk-rock, happy-go-lucky and amusingly fruity songs is only the tip of the iceberg.

First impressions were, while Bob Dylan-like vocally, even the most troubled of Jol’s characters have escape plans. They aren’t totally dejected and beyond hope like many of Dylan’s. This gives a much more sprightly and sanguineness vibe, and I’m leaning more in nature to the likes of the wild romanticisms or optimism in the face of misfortunes of Springsteen’s storytelling. Either way, despite Jol’s prolificness at an album annually since 2019’s My Nebraska, there’s clearly a lot of time, effort, and thought put into his songwriting. Surely the key to any amazing acoustic folk artist.

Being on the gatefold is a call to “free Julian Assange,” a subject Jol blogs about on his website, rallying his local MP, I realise I must dive deeper into the meanings of his songs, as he has proficiency in weaving poignant narratives, far from simply “making hay!” Still, only subtle political nods in his themes, I detect, are unlike the bluntness of Guthrie. The only exception to this rule I noted, is a closing tune When the Day and Night Collide, for this is truly blowin’ in the wind.

There’s defeatism yet hope, over Dylan’s usual bitter and derisive foreboding, yet romantic interludes are not often forthcoming, as in the opening tune, All Alone Again. It hankers the pit of your soul, an honesty pleading she takes him back home, even if he has trudged all over her flowerbed! Metaphorical or not, Jol, you need to get yourself to Homebase and replenish those Rhododendrons pronto!

Then comes the aforementioned light-hearted upbeat tune, Make Some Hay, followed by an absolute marvel. Meet me in Berlin, tormented touring dreams of it all coming together again, Romeo a personification of his hopes it’ll freshen up, it’s homecoming, delivered with amazing passion; thus the album persists this way, and it’s stunning.

Featuring Rachael Birkin on fiddle, award-winning pedal steel player Holly Carter, keyboardist Jon Buckett and Lewis Lord-Jenkins on drums, Drew Di Fiore on bass and Jason Serious on harmony vocals, this is twelve tunes strong, which does exactly what it says on the tin. There’s authentic Americana throughout, country folk, country blues, and if tunes weave in and out of pace, it flows like a fresh Red River valley song. The Carter Family would save him a space at their dinner table.

Tracks like Let it Roll aren’t the complex riddles of cliché Americana, rather facile sing-a-along, rolling into folk-rock. Other, more cleverly intertwined tunes require thought, often I’m deciding if Jol is subtly reflecting metaphorically, or more simply this romantic longing in the face of doubt. This open-ended prose is the key to the magic, as you interpret it as you will, hopefully bearing relevance to your own affairs, and that’s when the music takes you away. It’s a skill only the best singer-songwriters can muster, if Jol’s music doesn’t take you there, none of the others will. Come on Home, nine tracks in, is the perfect example. Though there’s a running theme of wishing to return home, it’s sublime and as congenial as home itself. It’s a painting on a wall, a permanent fixture hung with love.

I thought Jol was good, I didn’t dream he was this good;  Peace, Love, Americana is a keeper alright! Bag yourself a copy HERE.

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The Folkadelica of a Two Man Travelling Medicine Show

Contemporary folk rock in the UK tends to come in three formats which never the twain shall meet, usually. Firstly you’ve got your acoustic goodness with melancholic tales of woe and thoughtful romantic prose. It’s more often than not gentle, quirky and despite being either optimistic or pessimistic themed, it’s generally sprinkled with daisy chains and barefoot bearded bumpkins. 

The second sort is the all-out frenzied banjo plucking, fiddler frolicking, footstompin’ no bars held scrumpy and western or Celtic fashion, which drags you on to a dusty dancefloor kicking and screaming, but rarely offers intelligent content or narrative. And third, Americana, the idea someone from Chipping Norton can get away with yodelling songs about boxcars and dustbowls while donning a Stetson hat in Waitrose.

If you’ve ever desired something in the middle, something which resets the balance, or cherrypicks the best elements of all and fuses them with a flow so neat it’s like they never parted company at all, you’ve come to the right place. Recorded and mixed entirely in a dark Dorset barn, Folkadelica is the irresistible new eleven strong tuned album from those rootsy alchemists the Two Man Travelling Medicine Show, and it’s released tomorrow (Friday 10th November) on Hangover Hill Records; hold on to my bowler hat, there’s a good fellow…

This is a lukewarm tea in a chipped floral mug, resting on a log near a campfire kinda album, it’s probably got an earthy taste but it’ll sure bring you round. It doesn’t take itself too seriously, never attempts to patronise, but in this it offers intelligent and crafted wordplay, against a backdrop of wonderfully entwined banjo string snapping folk, and twisted with a dash of psychedelia. Largely upbeat even when the chips are down in its narrative, it’s carefree danceable but should you cross examine the subjects, there’s plenty of colourful and intriguing characters played out here.

If it kicks off decidedly punky folk with a banger called the Second Law of Thermodynamics, the in-your-face element doesn’t linger quite so abruptly, musically, yet the album contains a punkish ethos, least its fury, in the narrative throughout. This one is to check you’re awake.

Second tune in is the single which attracted me to it, a self-confessed “apathetic middle England rubbish protest song,” called I’m so Angry I Could Vote. The tongue-in-cheek singalong lambasting the bizarre notion recent government inactions might cause even abstenters to vote relies on the reactionless middle classes creating an anthem, and for the sheer ludicrousy that might happen is its amusing charm. You realise from the off your satirical preferences are in reliable hands, and Folkadelica will take no prisoners.

There’s a glass-half-empty suspiciously biographical tale of a failed musician’s flopped feelings of grandeur called A Lot of People Hate Me, it amuses more than enough. You will find at least one observation you identify with here if not this one. Talk is Cheap is a downtempo gem of Pink Floyd-esque sound with a Positively 4th Street sentiment, amidst uptempo tracks besides the nature of their themes. Beguilingly melancholic and dejectedly romantic in subject are few tunes here, but the middle trio, Stand by the Road, King with No Throne and Starting Again, particularly stand out for broody prose.   

Fatalistic raver inspired Smokescreen borders bluegrass and we’re back to footstomping. Repeat is perhaps the most engaging and reflective, if we all have a betraying friend who hit the bottle. Then it’s a vaudeville fashioned poverty commentary, a masterpiece of catchiness on shoplifting. It’s at this conjunction close to the finale, you consider just how idiosyncratically beautiful this trip has been, like returning home from an offbeat holiday.

Well, you have been trekking with a Two Man Travelling Medicine Show, what did you expect?! The conclusion to this makes you feel like you’ve been sitting on that log by the campfire, with your chipped mug, taking heed of this kooky duo’s words, their tales of grief, betrayal, and their slants on the state of politics, or the worth of shoplifting, all warped neatly in sublimely delivered carny DIY ether. Do check it out or continue to live your life influenced by the idiots this album lambasts so eloquently, passionately and satirically; either way, this doesn’t persuade you, merely angles your cuppa in a certain direction, and for that alone, I love it.

Folkadelica: Available digitally everywhere on Friday. Pre-save Spotify.  

Two Man Travelling Medicine Show Website . Facebook . Instagram . YouTube

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William The Conqueror to Invade Sound Knowledge, Marlborough!

Yeah, not really who you’re thinking of, you history swot! Rather the Cornish Americana/English alternative folk-rock trio of multi-instrumentalists Ruarri Joseph, Naomi Holmes, and Harry Harding, who’s unique blend of genres from both sides of the Atlantic can be heard on albums such as 2017’s Proud Disturber of the Peace and 2021’s Maverick Thinker.

Yeah, them, well, they’re paying an in-store visit to Marlborough on the 29th July, via Sound Knowledge…. they’re also at Bexhill’s Music’s Not Dead the day before, if you want to get historically appropriate and as geographically close to The Battle of Hastings and still see this quality band!

They’re there as part of an album launch tour, ‘Excuse Me While I Vanish’ released on 28th July, via Chrysalis Records. The story of the album goes along the lines of frontman Ruarri Joseph finding himself cocooned at home during lockdown, ruminating on an uncertain creative future, watching on as his wife Mandy, a valiant mental health social worker, engaged with the all-too-real dilemmas of the pandemic-riven here and now. Her example motivated Joseph to become a temporary care worker, an experience which would provide renewed focus and influence the songwriting on the new album.

“My wife was insomniac for the first six months of lockdown, which made it impossible for me to moan or grieve the fact that everything I’d been working on for the last five years had come to a standstill,” he explains. “It was a much-needed perspective and made me realise what a selfish undertaking William had been – navel-gazing with my head in the clouds when what people needed was boots firmly on the ground, preferably on the feet of someone like Mandy.”

But, the band’s fourth album finds the indie-rock trio firing on all cylinders as Joseph confronts the thin line between creativity and madness, inspired by compassion for the real-life angels of the world.

Produced by the band in a playground of vintage gear, and mixed by Barny Barnicott (Arctic Monkeys, Sam Fender, Kasabian), the resulting album’s ten tracks marry earworm tunes with insistent, imperious, soaring rock shapes, punctuated by chorus hooks that are simultaneously nuanced and anthemic. Joseph’s compelling semi-spoken vocals and swamp-blues-Seattle-scuzz guitars are propelled by the rhythm section of Naomi Holmes and Harry Harding as ‘Excuse Me While I Vanish’ delivers an effortlessly winning blend of melody and ensemble dynamics, the most accomplished William The Conqueror album to date.

With William The Conqueror’s live performances drawing wildly enthusiastic comparisons to the likes of Kings of Leon, Nirvana, Buffalo Tom and The Marshall Tucker Band, the trio performed to a packed room at The Great Escape earlier this year and recently completed a European tour with Nathaniel Rateliff & The Night Sweats. 

The band will also play at Latitude Festival this month, before embarking on a nationwide in-store tour in support of the album’s release across July and August and a full headline tour in October. Other venues close to us include Bristol’s Rough Trade on 30th, and Oxford’s Truck Store on 1st August, but the all live shows are based in larger towns and cities, you have to hand it to Roger and his team at Sound Knowledge, the ones who brought George Ezra to Trowvegas, they’re bringing in the names only cities would get the pleasure to witness, and this particular gig is certainly one the eye for ol’ Harold…..sorry, I couldn’t resist!

The trio will be playing a short set at St. Peter’s Church, Marlborugh on Sat 29th July. It’s a FREE event, but let the record store know if you’d like to attend by sending them a message or popping a note in with your album pre-order, HERE.

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A Quick Shuffle to Swindon

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Onika Venus is Back with a Midnight Remedy

Unbelievably two years have nearly passed since Onika Venus gave me a convenient excuse to poke my nose into what Sheer’s Kieran was doing up at Trowbridge Town Hall. Billed as reggae, arm twisted, I took a listen to the debut album, and have been infatuated since; now, we have a follow-up…..

Because while the term roots is bounded around within reggae music, progression never levels, and retrospection rarely arises, save perhaps within the skinhead/scooter culture. Contemporary reggae strives forward endlessly, millennial slackness dancehall has waned to charter a reunion with RnB, and this is where Onika fills a gap on the UK scene.

Onika Venus at Trowbridge Town Hall 2021

But there was more in the melting pot than met the eye, yes, Onika has a sublime voice, rich with Jamaican heritage, but her marriage to Mark, with a penchant for Americana roots meant the debut album, Everything You Are, stretched back into an association with country music not seen since roots reggae days of yore. Though the album is best described as experimental as opposed to retrospective. Still, those tracks serving a Jamaican offbeat were likely the most memorable.

So, I’m content the follow-up Midnight Remedy, released today (7th July) bursts straight into a reggae riff. Turn it Up is bold and brassy, this element breathing a subtle nod to rock steady. Thumbs up so far for pulling off the tricky sequel, for if it rides this train it wouldn’t be a bad thing.

This rock steady riff does continue for the following tune, Who’s Sleeping in my Bed? Topically, it reminds me of the Dawn Penn classic Are You There? With an air of “nah fuss” jollity within it, this is best classed as sunshine reggae; if someone else is sleeping in her bed, she’s not going to let it rain on her parade.

With a broken love theme, Faded Rose still rides a more tenuous offbeat, but this cleverly placed RnB element, which we saw in the debut album, comes back into play and we’re off, stirring the melting pot, equally as refined as the debut album.

Not long to wait to return to rock steady, though with a chatty dancehall vocal placement, and a one drop riddim, the title track Midnight Remedy, chants on the groove, probably the most beguiling yet, especially when that hammond organ plays it to fade; boss reggae gets some attention and I’m smitten.

Heart in a Bubble carries on from the good work of Midnight Remedy, blossoming romance is a tried and tested subject for the rock steady style, arguably the most creative period of the Jamaican recording industry, and this salutes such output.

Gravity, though, is the most experimental yet. Blues by any critic’s pigeonhole, in mood and sound, offering a welcomed darker side to Onika. The offbeat returns for a topically rainy day blues again with Teardrops, only to be proceeded with Something’s Gonna Break, a ballad with a fair slice of eighties-fashioned stanzas, and sax solo. Save Whitney, vocally superior, though, to said pop hits, this drifts along sublimely.

There’s pressures of lockdown themes, with electronica undertones in an eighties soundclash style, but retaining the silkiness of Onika’s house style, followed by a chugging train-themed soul smoothie, aptly Runaway Train. And the finale sees us back with these hints of eighties power ballad again, but whatever the flava, this is one absolutely beautiful album, soulful and uplifting throughout, truly a welcome return for Onika and her proficient band; melancholic when required, bouncy and joyful otherwise, but always wrapped in this most wonderous rich voice it couldn’t be anything less than a winner!

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No Need for Medicine Men – Elles Bailey Will Lift Your Spirit

Elles Bailey at The Corn Exchange, Devizes; part of Devizes Arts Festival.

By Ben Niamor. Images by Andy Fawthrop 

Elles Bailey made a welcomed return to Devizes this week, her sixth appearance in town by my count since local luthier and at that time promoter Mirko Pangrazzi booked this emerging talent some years ago now. Elles was great then, but has grown hugely as an artist, partly through being so fiercely independent and keeping things on her own terms….. 

This visit for the Arts Festival saw an appreciative crowd, many enjoying Elles live for the first time, packed into a blissfully air conditioned Corn Exchange on blisteringly hot summer school night. 

A multiple award winning artist, Elles always surrounds herself with the finest musicians in one of the hardest working live touring bands in the genre.Among them Joe Wilkins, on guitar, a long time friend and collaborator, co-writing with Elles on tracks like Riding Out the Storm in the set here. The wealth of touring translates into a cohesive, relaxed band supporting Elles’ trademark stage presence and flare. 

A great mix of songs in this set from across her albums and some heartfelt selections of covers from her inspirations. Mixing Muscle Shoals, Medicine Man, What’s the Matter With You and more with her fantastic song writing, with covers of some of the incredible characters of her inspiration, such as Levon Helms – When I Go Away (particularly well suited to Elles’ distinctive vocal sound if you listen to the original). 

For me personally, a sensational cover of Creedence Clearwater Revival’s – Long as I Can See the Light. Elles’ explained she cannot remember a time in her life when she didn’t know and love their music, fuelled just, as in my case, by an upbringing with a father who’s huge record collection was full of these kinds of incredible records. Truly made the hair on my neck stand up to hear her belt this out, sublime. 

In penning Cheats and Liars, a song about and fuelled by the rage at our so-called chancellor of the time, back in the COVID darkness of October 2020… when asked what struggling people in arts and music occupations should do? He quipped ‘they should retrain and find other jobs’. Thank you for the excellent song that prompted Mr Sunak. 

Thankfully, lovers of arts and music like myself were worrying that might actually happen through necessity to some degree, at the time buying merch, etc. If we were in a better position and talking to artists etc, letting them know they were loved and supported and meant so much to us.. I had pushed much of this to the back of my mind as we got back to gigs etc. and thankfully lost very little of what I feared, the scenes coming back to life as they did in the end.

I am hard pushed to think of a better example of a journey followed, for many in the audience have been on the journey with Elles, and many others and look forward to a lifetime of continuing to do so.  A good artist can do that, remind us of bad times and lift us into good times.

You will have probably realised already I am something of a fan, a true lady of the blues and one so connected with her fans how could you not?!

Thank you Elles and band, and the wonderful arts festival for putting this superb gig on, in walking distance for us. 

We are lucky to call this place home…..

Elles Bailey Website

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The Sisters and The Brothers at the British Lion

by Ben Niamor with images by Andy Fawthrop

Continuing the tradition of great quality Devizes Arts Festival fringe events in the wonderful town centre beer garden of the British lion, Devizes this year we were treated to a cracking bluegrass band.…

Hats off to the arts festival for finding outstanding artists in any given field. It takes more than a check shirt to carry off the traditional sound of bluegrass, especially if you are from our side of the pond!

A six piece bluegrass outfit comprised of Steel guitar, double bass, banjo, fiddle, mandolin , and acoustic guitar and everyone lending vocals.. laid out here and played in delightful harmony. Bluegrass often celebrates the darker side of life, in such a way the brain can wonder how these stories can give us such fun? But fun it was, great fun.

Songs of life, loss and whiskey.. Gotta get drunk… sung by the wonderful gent on steel guitar, those ensembled agree the fact he’s sat down and enjoying the great beer means he’s best suited to sing this.. A bunch of self penned tunes were interspersed within some classic genre covers such as Jolene, some more unusual Bob Dylan, and some classic roots songs across three sets.

All in a fantastic gig, and way to enjoy several hours, even the weather played ball and held off with a sunny flourish for the last set! Thankyou to the excellent band, our wonderful host for the garden, beers and charity barbecue, and of course the arts festival.

Devizes Arts Festival continues until Saturday 17th June. Tickets HERE.

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REVIEW – Devizes Arts Festival – Texas Tick Fever @ Three Crowns, Devizes, 4th June 2023

Andy Fawthrop

Free Fringe Frolics

Another day, another venue, and the Devizes Arts Festival is now getting into its stride.  This afternoon was the first of the five FREE events in this year’s programme, and what a cracker it turned out to be.…

Texas Tick Fever hail from that there Stroud, up in the Wild North Country, and rolled into town full of energy on a beautiful sunny afternoon in the courtyard of The Three Crowns.  The Vize was about to be treated to some bluegrass, y’all.  Although they’re a firm fixture on the roots music circuit, they’re a band I’d not personally run into before.  Took ‘em about two numbers and I was quickly hooked.

The boys’ marketing BS had talked about their music being “moonshine-fuelled”, but this being The Vize, it was more Wadworth 6X and ice-cream-fuelled.  Not that that mattered in the slightest, as they were on absolutely top form.

Their blend of Americana/ roots/ hillbilly/ Appalachian/ backwoods/ hayseed and good old bluegrass quickly had the crowd applauding.  With plenty of wise-cracking and self-deprecating humour on the side, this was just perfect stuff for a lazy afternoon at the pub.  Featuring banjo and guitar, occasional harmonica, kick-drum and harmonising vocals, the guys made some great music.  There was new and original stuff, and plenty of covers, including Sittin’ On Top O’ The World, It Takes A Worried Man, Down In Mississippi and (believe it or not, older readers look away now) that old theme to The Beverly Hillbillies.  Amazing.  And who could forget their fully-deserved encore of Duelling Banjos?  Terrific stuff.

They’ve also won my “Best Introduction To A Song” Award for one of their intros.  Following a decent re-telling of the urban myth, where legend has it that Robert Johnson met the devil at a crossroads and gave him his soul in exchange for mastery of the guitar, Stretch leaned into the mic and grinned, saying “well, anyways, this next song has absolutely nothin’ to do with that”.  Comic timing at its best.

Absolutely terrific entertainment, and an early highlight of the Festival for me.

And there’s more FREE Fringe next Saturday 10th June in Condado Lounge with Jukebox James, next Sunday 11th June in the British Lion with Sisters & Brothers, and the following Saturday 17th June with Carrie Etter Poetry.

The Devizes Arts Festival continues at various venues around town until Saturday 17th June.  

Tickets can be booked at Devizes Books or online at www.devizesartsfestival.org.uk  

Age of the Liar; The Burner Band

Okay, so it’s been a little over two years since I fondly reviewed the debut album, Signs & Wonders, from Leeds’ alt-country come Americana outfit, The Burner Band, when I labelled it “foot-tapping bluegrass fun” with, unusually, added elements of punk. This new seven track album Age of the Liar takes a massive step forward in poignancy…..

This said, I cannot now recall how we became acquainted, but lucky for us we did. Because while, Age of the Liar kicks off pretty much where Signs & Wonders left us, and waits for no man with insatiable foot-tapping bluegrass, there’s an underlying notion intelligent prose is at work here, as the lyrics, concerning the unquestionable loyalty to militancy rides this track like a trooper.

If the opener came as no surprise to me, the second track, Living in Fear certainly did, as while continuing the Americana roots forefront, it rides an offbeat like reggae, lowering the tempo, and taking an ecological topic, a “state of the world today,” it’s akin to the subject matter of punk and reggae too.

The mechanics of Living in Fear is also a hint towards the title track seven tunes in, which positively beams back reggae’s influence over punk; if the Clash did Americana, this is what it would probably sound like. Greatly overlooked in today’s mainstream, the social and political commentary of the era, once a prominent feature in both punk and reggae is put on the line here, satirically mocking the ludicrously of misinformation and propaganda of right-wing leaders, be it Trump or Bojo, it could go either way.

Throughout the album the desperation of contemporary issues is a running theme, even if it best works with these two offbeat songs. Dark and Lonesome Street takes us back to what the Burners do best, still as the title suggests there’s darker undertones. Even if the immediately lovable Hot Dog King has a rockabilly swing, the carefree mood isn’t all it seems, relaying a true story of New York hot dog vendor Dan Rossi, who fought against unjust licencing laws.

I love this concept, that the Burner Band aren’t afraid to explore and break confines of subgenre and pigeonholing, and it blends pleasantly on the ear. There’s elements of early Springsteen on the Asbury Park scene, often breezing into soul and blues, but never straying from the country backbeat.

This is truly is a modern take on roots and Americana, at times the definitive article, twangy geetars, or referencing American culture, but teetering the edge, there’s so many nods to a British roots scene, the punk, rockabilly and reggae movements of the early eighties, even down to the three-minute hero ideal, no tune tries to rule the album, all staying at the statutory running time. If the debut album touched on these influences too, it was subtle at best, this time the balance is perfected.

Social commentary continues to cover prejudices, immigration, stereotyping disabilities, yet no matter how complex the subject, tracks like Big Hole don’t baffle you in riddles, the messages are simple and direct, creating a beguiling and enjoyable ride with poignancy. I’ve yet to dive deeper into this, but suspect as I do more backstory and hidden gems will jump out at me, but I’m overdue mentioning it, as it came out the end of March, so presenting it to now is a honour; great foot-stomping stuff with the perfect balance of contemporary thoughtful prose and subject matter; yee-ha, it’s a keeper!

Website – Facebook – Bandcamp

Concrete Prairie Grace the Calne Music & Arts Festival Finale

So, it was a most memorable evening in Calne last night, and that’s everyone from Devizes leaving the site with insular mumblings of ‘ah, you dunt wanna go down thar, probably get licked in a drive-by shooting!’ Now, I’m not one to get fanatical, but if the mountain won’t come to Muhammad, I’ll risk it for the biscuit that is the finale of Calne Music & Arts Festival, because my new favourite thing, Concrete Prairie rang out the rafters with their exemplary blend of Americana.

Witnessing nothing of the preconceptions of smalltown rivalry, Marden House is an architecturally idyllic hall of gardened central location, with grand acoustics to boot. Beneath a plethora of submitted paintings which make up the gallery viewable throughout the fortnight of this long-founded festival, including one particularly striking image from our good friend Clifton Powell, Concrete Prairie played through their exquisite debut album, gave us a taste of what’s to come, and sprinkled it with a few apt covers. In such, they confirmed, short of me pressing my ugly mug on their limo windscreen as they leave a stadium, screeching “I love you, Concrete Prairie,” I’ve, in a relatively short time period, become somewhat obsessive about the wonderful local five-piece; and Americana of this country-inspired landscape isn’t usually my preferred cuppa!

Not wanting to scare them too much, I don’t do fanboy stalker, not with my eclectic tenet of promoting the entire local live music scene and the overabundance of talent here. Like my kids, I never announce my favoured drowning in car scenario preferences, but Concrete Prairie, I’d absolutely jump back in. And it was a more complete concert, rather than the half-hour gig at the sardine tin Beehive during the Swindon Shuffle. Though I mutually agreed with frontman Joe Faulkner, that was a blinding gig, bursting with atmosphere, you wouldn’t want to display your prize paintings on the walls there for the duration! Despite this more concert-based event may’ve been principled and lesser-so unruly, they met with an encore and rousing applause.

It also gave the chance for the band to really push the album tracks, express their thoughts behind the songs and give a more comprehensive show. None of this prior to student friend of Joe’s, M Butterfly, a Brighton-based soloist as support, providing some lush acoustic self-penned songs.

Kicking off with an instrumental guitar and fiddle combo, the drums rolled in for the opening track of their album, Pick up Pieces, after which Joe ate humble pie for the usage of the word “shit,” and livened the mood with the upbeat People Forget, which they did, or least forgave. If the audience were informed the opening song was about fatherhood, the second was more coming of age. Then two covers excellently unfolded, Loudon Wainwright’s Swimming Song, and The Waterboys’ finest hour, Fisherman’s Blues.

The mental health wellbeing themed Bury My Blues followed, and Hard Times took us nicely to an interval. What I didn’t catch at the Beehive was the diversity of Concrete Prairie, all members save drummer Tom Hartley and violinist Georgia Browne, swapping roles and instruments, all taking vocals, particularly the edgier Cash style of Adam Greeves, and accompanying, yet ever as tight and accomplished as they dared. Chatting to them later it was revealed to be too cramped conditions to do such at the Beehive. Here we could really get a better taste of the band, and they exploited this to the full, showing true professionalism in their stage presence and banter.

So, Wine on my Mind bought us back to the stage, with a new song Bound for Heaven, of equal and interesting composition, a solid taster for the sequel album. Joe then revealed a narrative of equality behind I Wish you Well, explaining the Annabel character mentioned was a personification of respect for anyone “different” from them. I mention this to detail the depth of concept in the band’s riddled writing, perhaps part of a job description for country artists, but they do this with the strength of the classics. Talking of which, a pleasing cover of Glen Campbell’s Wichita Lineman followed; sweet as.

Apologies for losing track at this conjunction, the spellbinding nature took hold, as they drove out their passionate fables with the attention to detail of Springsteen, or mentors, Guthrie and Segar. Often morbid subjects which other bands would refuse to attempt, yes, it can be dark at times. The album’s penultimate Winter Town being a prime example, yet carried off with such sublime precision, it awe-inspiring, Adam taking lead on this one beautifully.

The finale was, what I consider their magnum-opus, at least to-date, The Devil Dealt the Deck, and it came with a lighter explanation then I’d have imagined, but still, it stands as a testament to blanket Concrete Prairie’s range, it’s morose, yet builds in layers to danceable proportions of folk. Though of the ending, an encore was unanimous, and surprisingly, they arrived back on stage for a quick version of the Coral’s uplifting Pass it on, led by birthday boy bassist, Dan Burrows.

I was thrilled to catch this band in Calne, of whom Americana UK awarded a ten-out-of-ten album review, because all praise is thoroughly deserved, and their link to the wonderful Calne Music & Arts Festival was revealed by resident violinist, Georgia Browne, stating her mum was a chief organiser, and she appeared here since she was eight.  The ethos remains for the festival, earlier events promote school choirs and young talent. This was also a marvellous accolade and association, resulting in something of a homely atmosphere, where respect was given. Outside, my opening line in meeting the other band members, aside Joe who I already met, was we really need to get you in Devizes, and they leaked a secret they’re booked somewhere in town very soon. The Southgate I havered a guess, and I believe, without quizzing Deborah, tis true. When they do, wow, I thoroughly recommend you attend and show them what we’re made of!

Trending…..

FullTone Festival 2026: A New Home

It’s been a wonderful summer’s weekend, in which I endeavoured to at least poke my nose into the fabulous FullTone Festival, despite being invited to…

Ace-High Debut Album from Concrete Prairie

Some albums are an immediate love at first listen, but as time passes you start to see holes. Others take time to digest, growers; you learn to love them. Going in blind on this one, I’ve seen the Swindon-based band name floating around locally, favourites at The Tuppenny, Trowbridge’s Pump, and they knocked it out of Town Gardens at My Dad’s Bigger Than Your Dad. I’ve listed them on our event calendar, and well, guess I just liked the ironic rootsy name, Concrete Prairie, reminding me of Marley’s Concrete Jungle. I was more than pleasantly surprised.…..

It did both, an immediate love, ever-growing. There’re no holes here, their self-titled debut album, out tomorrow (2nd September) is made from solid rhinestone. Solemn when needed, indignantly peppy otherwise, but always chiaroscuro and earnest. Americana, folk noir, of the like of Johnny Cash, vocally akin, with the depth and command of Jim Morrison, and, I kid you not, dammit it’s on that greatness level too.

There are secret treasures buried here, though lyrics chant, “you know when shit hits the fan, I’ll be the man who’s picking up pieces,” its humble Nashville-esque beginnings doesn’t prepare you fully for the finale. The Devil Dealt the Deck is an ambitious tragedy-come-rhapsody ending, it is their Stairway to Heaven, bronc-riding Othello, sublimely moreish.

Betwixt them are eight other solid and lengthy tunes, caringly crafted, exceptionally well delivered. Ballads of Bakersfield backbeat like I Wish you Well roll into the particularly Cash sounding Day by Day, merging into acoustic fingerstyle backwood blues rock by the haunting Hard Times, when things suddenly head foot-stomping bluegrass. By the upbeat People Forget you’re fully immersed in its evocative depictions, as it weaves and blends all subgenres in-between, wonderfully wrapped in this aforementioned dark prose.

Astonished I messaged them, to confirm this was their debut album, all too easy to perceive this as the project of legendary rock stars who hoisted in the best producer to reconnect their roots after decades of golden discography. They did in fact, find the ears of John Reynolds, producer for The Indigo Girls, Damien Dempsey and Sinead O’Connor.

Take the forlorn howl of Guthrie in his darkest moment, there’s broken characters of Springsteen’s Nebraska in the narrative too, yet somehow those desperate nuances here rise above both their melancholic murmur; it’s got edge but at best times it rides it frenetic and fierce; rootin’, tootin’ and a-shootin’!

Joe, from the band tells me, “It’s been a few years in the making due to some somewhat global delays!” But comparable to an artist who cannot leave a painting alone for finishing touches, it’s obvious after a listen, there’s a serious amount of work gone into this. Yet no one creates their magnum opus so early, surely? I confess I liked Springsteen’s inaugural The Wild, The Innocent and The E Street Shuffle, or Floyd’s Meddle better than the matured Born to Run or Dark Side of the Moon, but I accept their place is lesser popularly; if this then is the par of those, I want to be around when they do their masterwork.

There’s a fair bit of cliché Americana around and about, wishy-washy mediocre, but these guys aren’t sitting around a campfire with a can of beans playing the fart game here, this is concentrated, solid material, a real sheriff’s badge. This is how it should be done, if you catch my drift, and its equal distance away from Achy Breaky Heart as acid-techno is!

Launch day is tomorrow, across streaming platforms. CDs are up for pre-order on Amazon and the album will also be seeing a vinyl release: link here.

They’re play Swindon Shuffle, and there’s an album launch at Moles, Bath, Saturday 3rd September with Barney Kenny in support. Tickets here, are just a fiver.

Trending….

Salisbury Musicians Record Fundraising Single in Memory of Thom Belk

A feast of Salisbury musicians have recorded the single Edge of Reason, a powerful tribute to the irreplaceable Thom Belk, a champion of Salisbury’s music scene who sadly passed away at the end of 2023…. “Thom’s passion for local talent lit up this city, and this song is our way of keeping that flame burning bright,”…

Devizes Food & Drink Festival Programme of Events Released

Devizes Food & Drink Festival launched their 2025 programme of events today. Running from Saturday 20th to the 28th September, the Box Office opens online and at Devizes Books on August 11th; can you wait that long or is your tummy rumbling already?! The free Street Food and Artisan Market will take place in the Devizes…

Schools Out For Summer: Here’s Some Things to Do in Wiltshire!

Schools out for summer, yelled a man called Alice, but that was in 1972. We’re about what you can do THIS school summer holiday with those little munchkins; here’s what we’ve found… Please note as soon as we publish this we’ll be bombarded with events we have missed; at least that’s what usually happens! So,…

Devizes Dilemma: FullTone or Scooter Rally?!

Contemplated headlining this “Clash of the Titans,” but that evokes the idea of a dramatic power struggle with fierce consequences rather than proof Devizes can peacefully contain two major events on the same weekend, and, potentially, everyone comes up smiling because they attract different target audiences. But if the practicalities and ethos of both events…

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Popular award-winning artisan chocolate business Hollychocs has announced that its Beanery Café will close on Saturday 23rd August, marking exactly two years since its opening in Poulshot, near Devizes…. Founded by award-winning chocolatier Holly Garner, Hollychocs has become a much-loved fixture in the local community, known not just for its handcrafted chocolates but for creating…

PREVIEW :“Glasshouse” at The Mission Theatre, Bath, July 21st 2025.

by Ian Diddamsimages by Sandcastle Productions A very new addition to Bath based theatre companies, Sandcastles Productions brings their self penned piece of theatre to The Mission Theatre next week. Playwright Charlie McGuire describes “Glass House” as a mix of “Twelve Angry Men” with the defendant in the room, regarding some human beings that are…

“The Mother” at The Mission Theatre, Bath, July 16th-19th 2025.

by Ian Diddamsimages by Ian Diddams, Next Stage Theatre Company and Mike Stevens Florian Zeller is a contemporary French playwright and screenwriter, who received critical acclaim for his films, “The Father” and “The Son” in the early 2020s. The films were both adapted from his stage plays of the same name, and it will not…

Right Here, Right Now; Fatboy Slim Tribute at Salisbury Fundraiser

A smidgen fuddled over a tribute to a DJ, but Fatboy Slim is no ordinary DJ, he’s a superstar, constructing hits from samples and remixes, rams Brighton beach and is loved for largin’ it. So, when Salisbury Live and The Sounds of Salisbury radio get together for a live summer extravaganza at the city’s Victoria…

Park Farm; Mantonfest Came to Devizes!

The first Park Farm Festival happened Saturday, it was fabulouso, and in some way Mantonfest came to Devizes; conveniently for me as I had to unfortunately miss Marlborough’s gem a fortnight ago….. Weather and festival organisers aren’t besties. Organisers quiveringly check forecasts months prior, usual concern being moisture. Daytime at the inaugural Park Farm Festival…

Everything You Are, Onika Venus

You remember being given some coursework, when back in higher education, with various objectives and your task was to choose one to complete? Not really wanting to do it, you go to the student at the top of the class, and ask them what they’ve done. They reply, “ah, not much,” and this gives you the cue to do absolutely nothing. Then, on the day of handing it in, they’ve unexpectedly produced the single-most awesome project, covering all the objectives in one ingenious combination, and you stand there with zilch, except a jaw hanging and an implausible excuse, which you made up on the bus coming in?!

I’d imagine Onika Venus to be just like that. Now Bristol-based, Jamaican-born Onika plays Trowbridge Town Hall on September 18th, so, given reggae is cited as an influence, I thought I’d check out her debut solo album, Everything You Are, which was released back in March.

The title track was chosen as Songsmith’s Song of the Year 2020, and it’s easy to hear why. I’ve not been this blown away by a female vocalist since discovering Minneapolis’s Mayyadda.

Immediately this pushed my buttons, but if this opening title tune is decidedly acoustic blues, with a distant harmonica resounding in the background, there’s a truckload more going on than the first impressions here.

The premise from the beginning is as simple as, Onika Venus has the prevailing soulful voice to carry whatever genre is thrown into the melting pot, and drizzle it over you like hot sauce. It only leaves you pondering how far she will take it. The second tune I pigeonholed as RnB pop, a contemporary Macy Gray or Erykah Badu, aiming for chart success. When I’m Broken carries this concept to a higher height, and is simply, the model formula of popular music every song should aim for.

Yet, three songs in and here comes the Caribbean influence. Friday Love has a clear mento feel, it’s immediately beguiling, a good-time chugging song in the face the despondent romance theme. This will occur again towards the middle the album with Who’s Been loving You. Again, with Shotgun there’s similar appeal, perhaps the most definable as “roots reggae,” and, for me, they’re the favoured sections.

But it swaps back to the mainstay for track four, steady soul with an orchestrated ambience; Everything has its Season, is the ideal equilibrium to bless that heavenly voice and compose this euphoric moment of bliss. After a surprising modern dancehall intro, we’re back to an acoustic guitar riff for the poignant The Storm, using sax to mitigate jazz. I Need You, though, has kick-ass funk, Ike & Tina Turner in their prime.

With only three tunes to go, just when you think influences have been exhausted, there’s a duet with a male voice, supplied by husband, Mark, Mary, sounds classic Americana, as if Joe Cocker just walked into the studio and said, why don’t you try this?!

To keep you guessing what the last couple of tunes will hold, yeah, folk is strapped onto soul, Reaper Man aches of Aretha Franklin, but by this point you just know Onika Venus can carry this off with bells on. Raising the bar of comparisons is justified, believe me. For when it’s funky I’d give you Randy Crawford, Chaka Khan, and when it levels with acoustic and folk, her voice dishes out notions of reggae heroines, of Phyllis Dillon or Marcia Griffiths, and the gospel finale, yeah, Aretha will be justified, if not Sister Rosetta Tharpe; it is this magnificent.

Yet, unlike all these aforementioned legends, the style here is not monocultured, neither does it jerk from genre to genre without consistency and flow. Onika Venus gives volumes to the eclecticism, and it moulds efficaciously into one melting pot, beautifully. Prior to this solo launch, in a band called Slyde, her voice customised their breakbeat, techno and house style, to great effect, and I can well believe it. The flexibility of her skill is captured here, I’d imagine as comprehensively as she chooses personally, and just as the student who bursts in effortlessly, with the homework complete and to an exceptional standard, Onika Venus makes this look easy!

Win 2 free tickets here!

Trending….

Ann Liu Cannon’s Clever Rabbits

Ann Liu Cannon is the Marlborough success story I hadn’t heard of until yesterday; thanks to local promoter and frontman of the Vooz, Lee Mathews…

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OUT NOW! Various Artists 4 Julia’s House

As a nipper I’d spend days, entire school holidays, making mixtapes as if I worked for Now, That’s What I Call Music! In the era before hi-fi, I’d sit holding a microphone to the radio’s speaker, adventurously attempting to anticipate when Tony Blackburn was going to talk over the tune, and just when In the Air Tonight peaked with Phil’s crashing drums, my dad would shout up the stairs that my tea was ready; eternally caught on tape, at least until my Walkman screwed up the cassette.

Crude to look back, even when I advanced to tape-to-tape, I discovered if I pressed the pause button very slowly on the recording cassette deck, it would slide into the next song, and with a second of grinding squeal Howard Jones glided into Yazoo!! Always the DJ, just never with the tech! Rest assured; this doesn’t happen on this, our Various Artists compilation album, 4 Julia’s House. And oh, have I got some news about that?!

Huh? Yes, I have, and here it is….  

We did it! Thanks once again to all our fabulous contributing artists, our third instalment of detailed sleeve notes will follow shortly, but for now, I couldn’t wait another day, therefore, I’ve released it half a day early, this afternoon!

Buy it here!

Now all that needs to happen is to get promoting it, and you can help by sharing news of this on your social media pages, thank you. Bloggers and media please get in touch, and help me raise some funds for Julia’s House.

I’ve embedded a player, in which you should be able to get a full try before you buy, I believe you get three listens before it’ll default and tell you to buy it. I hope you enjoy, it has been a mission and half, but one I’d gladly do again.

Please note: there are many artists giving it, “oh no, I was going to send you a track!” Fear not, there is still time, as I’ll causally start collecting tunes for a volume 2, and when the time is ready and we have enough songs, we will do it. It might be for another charity, I’d personally like to do another raising funds for The Devizes & District Opportunity Centre, but that’s unconfirmed as of yet.

You know, sometimes I think I could raise more money with less effort by trekking down through the Market Place in a bath of cold baked beans, but I wanted to bring you a treasured item comprising of so many great artists we’ve featured, or will be featuring in the near future on Devizine. Never before has all these artists been on one huge album like this, and look, even if you don’t care for a particular tune, there’s 46 of them, check my maths as I pride myself on being exceptionally rubbish at it, but I make that 22p a track, and all for such a worthy cause!

Track listing details part 1
Track listing details part2
Click for info on Julia’s House

“We are so grateful to Devizine and all of the local artists who are taking part in the charity album to raise funds for Julia’s House. We don’t receive any government funding for the care we give to families in Wiltshire, so the support we receive from our local community is so important.”

Claudia Hickin, Community Fundraiser at Julia’s House

Lady Nade; Willing

Americana folk singer-songwriter Lady Nade beautifully attributes her granddad for her traits, in the song Peace and Calm, citing his love of gardening as his mellowed happy place. Wonderfully sentimental, the boot fits, as is this stunningly crafted new album, Willing, released yesterday, and undoubtedly the reason why she plays to a sold-out audience tonight at St George’s in her hometown of Bristol.

Reviewing after just the one listen is usually dodgy ground, but when an album engrosses you as Willing does, it’s all that’s necessary to reverberate the news to you just how fabulous this is.

If Lady Nade has a physical resemblance to Heather Small, she certainly has the deep and soulful voice to match, but any musical comparisons have to end there, unless either Mike Pickering is taken out of the equation or the nineties electronica inclination was mysteriously replaced by Nashville country. For pigeonholing this, it is soulful country, in sound and subject matter.

Written during the pandemic, there’s a secluded ambience echoing through these eleven sublime three-minute plus stories of friendship, love and loneliness lost and found, reflecting the fact it was recorded in multiple studios and engineered by all the musicians in isolation. Yet to hear it will hold you spellbound in a single place, till its conclusion.

With a folk tinge the title track kicks us off, and sucks you in with a romantic notion of loyalty. The slide-guitar fills a tale of faith against missing someone follows, and, lighter, You’re my Number One, trickles euphoria, warmly.

Indeed, mellow is the key throughout, Josette being breezily romantic, while Wild Fire offers a darker, moodier tenet. Whimsically spoken, One-Sided is perhaps the most beguilingly pop-like with a cannonball despondency you cannot help but be touched by. But if identification is what you’re after, Call Yourself a Friend has the sorrowful, trust vs cheating friendship, and accompanied by pedal-steel guitar-picking, traditional country music is honoured.

By Rock Bottom, as the title suggests, there’s a slight rock breeze to it without defiling its roots, Tom Petty style. Then we have the aforementioned, Peace and Calm, an upbeat, jollily ironic Many Ways to Sink This Ship, and Ain’t One Thing makes for a perfect finale, by summing up the perfect person to be in love with. What a gorgeous sentiment to seamlessly end a captivating album from start to finish.

It often perplexes me, how Ray Charles deviating from the jazz-laden soul ABC Records necessitated as the key to his achievement, to release the double-album, Modern Sounds in Country and Western Music was considered so shocking, when artists such as Nashville’s DeFord Bailey was fusing harmonica blues into the more acceptable country style forty years prior. Still, some may be surprised by Lady Nade’s affection for Americana folk, but after one listen the surprise will turn into amazement.

As a form of healing from grief, Lady Nade started writing poems and songs, and performing locally, learning loss and sorrow isn’t something one can recover from alone, and with her music and recipes she creates a communal experience, a calling to connect with her fans on a deeper level. This shows in the sublime dedication she transfers to this, her third album.

Trending….

IDLES’ at Block Party

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Song of the Day 35: The Jamestown Brothers

With tracks for the charity compilation album coming in thick n fast, time for me to take a break, sit with the family to watch the Jumanji rework, again. Hum, Ruby Roundhouse….But before my mind wanders too much, here’s my song of the day.

It has no video, best guessing it doesn’t matter, you’ll feel preoccupied with footstomping and guzzling cider from a plastic gallon container. Americana meets west country folk, scrumpy & western, this is nothing but a carefree enjoyable bop, done with bells on.

Looks from here like they’re a staggering nine-piece, suspect fibbers about being brothers, but two seconds into this beauty and even that won’t matter, even if you did bring ya mama, who’d probably just complain about her feet the whole way through.

Go give em a Facebook like, for more info on the shindigs you’ll hear them pluck their geetars at, and based on this tune alone, you know it’s going to go off.

And that’s my song of the day!! Very good, carry on….

More info

Make Headway for Ariel Posen

Try this: think of some tunes of the decade you were born, songs which you like but don’t know why, songs which, for some reason, ring alarm bells at you as characteristic of the era. Your taste screams no, you shouldn’t like these, but you do. Then check the year they charted. I wager many of them were in the year you were born, the previous or following.

I remember liking, at the time, and I’m not proud but in the name of science I’m going to confess, Brotherhood of Man’s Save All Your Kisses for Me! Oh, while we’re there, Abba’s Dancing Queen too! Thing is, I know why. They were in the charts in 1976, when I was three, the sort of excruciating pop mush anthems a toddler graduates to after the Wheels on the Bus. However, I cannot put my finger on why I’m engrossed with glam rock songs, such as Gary Glitter’s I’m the Leader of the Gang, The Sweet’s Blockbuster and Slade’s Cum Feel the Noise, when the genre makes me generally quiver.

Any doubt I was born in the 70s cleared up with this family photo; I’m the baby!

Why flower-power sold out and hippies took to wearing kipper ties and platform shoes with goldfish in the heel is beyond my understanding of youth culture vicissitudes. Still, when I hear the aforementioned glam rock screeches, they stir something vague inside, indications of a life obscured by cognition. Coincidence they all charted in 1973, the year I was born? Or could the sounds around you, as a baby, implant permanent scars?! If so, I’ll be dammed, deeply archived Little Jimmy Osmond’s Long-Haired Lover From Liverpool!

Though you should never condemn an entire decade for its pop chart. Given you’ll throw Sonia, Jason & Kylie, even Blacklace at me, and tell me to shaddup my face. Despite the lack of technological advances of the seventies when compared with the eighties, there was numerous classics. I’m drawn to the cherished saxophone riff of Gerry Rafferty’s Baker Street, but surprised to note, it broke my theory and wasn’t until ‘78.

The research was stirred by Canadian singer-songwriter, Ariel Posen’s forthcoming album, ‘Headway,’ released on 5th March. Oh, yeah, I am coming to an eventual music review, excuse my waffle. There’s something retrospectively seventies about it, my mind sees a Ronco record label revolving on the turntable of a seventy’s mahogany music centre. A quick flick through the tracks suggested motives not to like this are manyfold. Yet, akin to why I cannot put my finger on why I like those glam tunes of my birth year, I’m finding it tricky to reason with this too, but I do like it, a lot.

With magnificent guitar riffs which nods subtly to country and heartland rock & roll, combined with smooth, blue-eyed soul vocals, there’s something very Springsteen’s Darkness on the Edge of Town, or Tom Petty’s Full Moon Fever about this potential electrified Americana rock classic.

The harmonious and tenderly sensual soul of Coming Back, against the folksy- blues guitar picking of the single Heart by Heart suggests there’s a vast melting pot, but Posen meticulously stirs it into one seriously chilled groove, David Soul styled, which will leave you causally drifting through till the end. Hence my reasons for pondering my little science experiment while listening. Again, comparisons to seventies music, here’s an album to listen to complete, afar from youthful trend of flicking through Spotify playlists like time is against them.

Upon first impressions I was dubious about a Springsteen comparison, contemplating the subjects are generally of romance, and perhaps simpler than the Boss’s interweaved wordplay, yet again humbler Beatles’ pop formulas clearly influence it greatly too. Harder listening conjured a progressive prose of evolution in life, love, and all points in between. They’re poignant and beguiling, combined, you just have to dive a little deeper.

Two years in production, Posen began recording Headway in December 2019, a week after wrapping up an international tour in support of his acclaimed debut, How Long; the effort shows. The gigs received standing ovations, and Rolling Stone dubbed him “a modern-day guitar hero.” Music Radar listed him as a fan voted top 10 rock guitarist of the year, and the Western Canadian Music Awards nominated him for Breakout Artist of the Year.

So, yeah, this is worthy of your attention, and if I attempt to lambast the seventies again, remind me of the current sate of my lockdown coiffure; I’ve got the big hair of a middle-aged Caucasian from 1976. I’m going out on my Raleigh Chopper now, mum, call me when my mince in gravy is ready!

Artic Roll for pudding? Hunky dory!

Pre-order Headway HERE

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Hotcakes, Wildfire, Shoes…. and Acid!

In the dead of night sounds in a rural environment are resonating singularities, a car in the distance or the farmer calling his herd. In…

And There it is, Araluen

Ever considered Jolene might’ve been an innocent victim of circumstance? Dolly’s husband was obsessed with her, talked about her in his sleep. But there’s no evidence in the song to suggest she enacted, nothing to say she consciously encouraged it or made the first move. Dolly persecuted her, could’ve been jealously. There’re two sides to every story and we never hear Jolene’s.  

Sounds rather conservative to me, Dolly blames anyone but herself. Rather, Araluen’s song In the Arms of Another, offers a liberal angle on a similar premise. The singer admits and regrets her part in pushing him into the arms of another, by not seeing the significance of those tell-tale signs.

Credit: Music Closeup

Arguably, its notion is more provocative than Jolene, but it’s certainly the most poignant tune on this captivating album, And There it is, released last month. Araluen being the project of Australian-born, (hence the name,) but resident in the UK, Paul Lush, known for his contributions with Rockingbirds singer Alan Tyler and Danny And The Champions Of The World. With a repute on the UK Americana circuit, guitarist and award-winning songwriter, Paul, has been plying his trade as a fleet-fingered gun for hire and now sets up his own project.

“Araluen is the vehicle that I use to record my songs,” explained Paul. “It’s an idea more than anything, that allows me to use whoever I want without having to stick to a set band line-up. I’ve written and recorded a lot of songs but have never done anything with them. So, once I started this project, it was with the idea to finally release something – get it out there.”

Occasionally here, the sound slips skilfully into folk-rock, and there’s an electric slide guitar instrumental decidedly rock, but for the bulk, it’s uplifting country, graced by the alluring vocals of Angela Gannon from Magic Numbers. Also important to note this flows between changing styles with acute precision, rather than jumps in and out of styles.

Credit: Music Closeup

Maybe my mum’s insistence we listened to her Tammy Wynette cassette in the car as kids, prepped me for my newfound affection for country, projected within our local circuit, our Tammy, Quin, Jamie R Hawkins and Dean Czerwionka’s invitations to attend his Americana club nights, but I must say, I actually prefer the string-bending country ballards on And There it is more than the rock ones; or is it an age thing?!

I could speculate till the cows come home, but it’s likely the style suits Angela’s voice more. It is, by its very essence, hypnotically divine, and amatory too, in a kind of chequered shirts with tassels and Daisy Dukes fashion. Virtually all romantically themed in small-town matters and secrecy, I found myself drifting into its gorgeous, effectively unpretentious narratives, as thirteen of them roll off the ears like waves on a tropical ocean.

Such is the alluring vocals, my mind contemplated the classic Simpsons episode, where Homer is near-tempted by the advances of country singer Lurleen Lumpkin, incidentally voiced by actress and singer Beverly D’Angelo, who as well as being Ellen Griswold in the National Lampoon’s Vacation films, was nominated for a Golden Globe Award for her role as Patsy Cline in Coal Miner’s Daughter, so it’s a fair credit.

Credit: Music Closeup

“I’d admired Ange’s vocals for a long time, so one night while we were talking over a drink I asked if she was interested in singing on my new album,” Paul elucidated. “We went through the songs a couple of times and then recorded them. She blew me away. I had never heard her sing like that. This was the first time I’d heard her sing as the main featured vocalist for a whole album and she’s fantastic.”

And she certainly is. Lush by name, Paul has created a cross-bred masterpiece here to appease both country aficionados and those merely window-shopping into the genre via rock n roll avenue. This is a keeper.

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Americana maverick Jim White returns with Misfit’s Jubilee

Going in blind, crucify me if you will, but I’m unfamiliar with Americana maverick Jim White. Additionally, I’m streamlining due to the backlog and giving this one listen prior to reviewing. Yet, even if my analysis isn’t as exhaustive as other fervent bloggers, I’m bloody loving his latest album Misfit’s Jubilee.

It’s precisely what it says on the tin, a discarded rusty old tin in a desert somewhere. An upbeat roll in a haystack of psychedelic Southern Americana, and a festivity of folk-driven geriatric observation. Yet there’s his trademark, apparently; dark trippy twist of narrative in the depths. Jim White muses US politics, divided state ethos, and national stereotypes. Subjects range from a dope smuggling teenager to Big Foot, and he does it with the professionalism of quart-century experience, and self-confessed “hole of sickness, depression and poverty.”

Multiple-instrumentalist, singer-songwriter, Jim, works this personal arse-whipping outing with only the tangibly cohesive musicianship of his long-time drummer Marlon Patton, trusted Belgian sidemen Geert Hellings on guitar and banjo, and Nicolas Rombouts on keys. Recorded primarily at Studio Caporal in Antwerp, it features new songs, plus some older-penned ones, only now surfaced. Put out on Loose Records, it’s out now. To me it’s all new, but I’m contemplating Neil Young jamming with the Pixies as its mind-blowing cogitates flow over my psyche like waves of a resilient dustbowl.

Ruminations are somewhat curtain-twitching but contemporary, and it hardly ceases its brainy grip on the necks of proletarian American orthodox devotees, but does so with the fashion of a perpetual parade of agitated and cynical characters, but oh, joyfully, and with a heartfelt sonic agenda.

The sound is toe-tappingly memorable, maintains upbeat jovial generation X indie-folk-rock, yet smells of vintage. If some moody piano rings out, as it does with The Sum of What We’ve Been, a zephyr of buoyant guitar riff repairs it. There were times when I figured it’d mellowed, like Mystery of You, but it was just building the track. And for that, it rocks!

Through ever-thickening material, straggly kitsch metaphors and uncensored outpourings, it’s perhaps the twanging guitars juxtaposed with samples from authentic US police chases which makes my reasoning for citing the tune, Highway of Lost Hats as the peak of Misfit’s Jubilee. There’s rib-tickling Hollywood narrative, adroitly directed at the carefree insolence in defence of US counter culture of yore. Herein is its niche, a bombast of the direction his nation heads, and comparison of what it could be. It is Born in the USA times a billion, it’s Guthrie partnering with Lou Reed, for a new era.

The finale defines this, an earnest and heartfelt speech, reflecting on quotes from George Washington, poet Emma Lazarus and even Jesus, but after the contemplative, it slides into a fading McDonalds order. Such a nimbly placed, sombre scrutiny, is the conclusion of the Divided States of America, as itdumps you in cold silence gasping for air.

I’m going to have to dive deeper into this impressive torrent of melodic genius, as I figure it’ll be some time before I fully unpick it, and its gist is sussed; that’s when you get the notion, it’s value for your hard-earned pennies.

Jamie Williams and the Roots Collective Do What They Love, at The Southgate

He’s a fast learner, that Keanu Reeves; think how he progressed to “the chosen one” in little over an hour and half, while his superiors barely advanced at all; comes with the chosen one job, I suppose. Think cat scene, for example, where this novice presumed déjà vu, but twas a glitch in the Matrix.

Had a touch of déjà vu myself on Sunday, chatting with Essex’s Jamie Williams and the Roots Collective; alas I’m not the chosen one, until it’s time to do the washing up. Barefacedly had to check my own website, suspecting they’d been mentioned before. And I was right, Andy wrote a part-review back in July; I was briefly there too. Blame it on a glitch, rather than memory loss; this is 2020, glitches in the Matrix are abundant.

Regulars at the Southgate in Devizes, Jamie Williams and the Roots Collective are as the name suggests, but don’t do run of the mill. Cowboy hats and chequered shirts held a clue, but arrive excepting unadulterated county & western and you’ll get nipped. While there’re clear Americana influences, here’s an exclusive sound unafraid to experiment.

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Jamie’s abrasive vocals are gritty and resolute, perfect for this overall country-blues sound, but it progressively rocks like Springsteen or Petty, rather than attempts to banjo twang back to bluegrass. It also boundlessly exploits other folk and roots influences, with a plethora of instruments and expertise to merge them into this melting pot. And in this essence, they are an agreeable rock band, appealing to commonalities; but do it remarkably, with upbeat riffs, tested but original material, and passion.

Not forgoing, I still need to be careful, and it was but a whistle-stop to the Gate, to wet my whistle. As current live music restrictions being the way they are, it’s unfair to use a gig review as a base for an act’s entirety. For starters, they’re missing bassist Jake Milligan, and drums deemed too loud to bring, James “the hog” Bacon made do with a cajon and bongos. The remaining two, Jamie and Dave Milligan, cramped in the doorway of the skittle ally with acoustic and electric guitar, respectively. Which, in a way, proves this band’s aforementioned adaptability and desire to experiment. The proof is the pudding though, and battling through the restrictions of the era, they came up with a chef-d’oeuvre.

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Professionally, they scorched out a great sound nonetheless, mostly original, but a rather fitting Knockin’ on Heaven’s Door, with Jamie’s grinding vocals apt for a later Dylan classic. But this downtempo cover was the exception to the rule, their originals upbeat and driving.

To pitch a fair review, though, is to take a listen to their latest album, Do What You Love. The cover of which is unlike your cliché Americana tribute too; highly graphical splashes of colour akin more to pop, or a branding of fizzy drink. The songs match, a popular formula of cleverly crafted nuggets intertwining these wide-spanning influences. One track they did live from their album was accompanied with an explanation the recorded version used a brass section and even a DJ scratching, yet they made do with Jake joining James for a hit on the bongos.

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They certainly enjoy what they do, and appear relaxed in the spotlight. This doesn’t make them tongue-in-cheek, like, say Californian Watsky & Mody, who blend hip hop into bluegrass for jokes. Rather Jamie Williams & The Roots Collective has evenly balanced said collective’s influences and conjured this celebrated, danceable and fun sound, flexible for a standard function, like a wedding party but would also liven up the day at a mini-festival.

As an album though it encompasses all I’ve said above, there’s cool tunes like Lazy Day, the orchestrated reprise If I met my Hero, and rather gorgeously executed ballad, Held in Your Glow, but also frenetic tunes, driving down the A12 with the windows open music, Red Hot and Raunchy being a grand, light-hearted example but I’m A Stone as my favourite, with its clever pastiches of Dylan and The Rolling Stones, it rocks.

You need not visit the Oracle, waiting with spoon-bending broods, Keanu Reeves, for her to tell you Jamie Williams & The Roots Collective are not some “chosen” livid teenagers trailblazing a new sound and striving for the spotlight, but a collective of passionate and talented musicians loving every minute of performing, and this comes across as highly entertaining.

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