Tag: bluegrass

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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Rooks; New Single From M3G

Chippenham folk singer-songwriter, M3G (because she likes a backward “E”) has a new single out tomorrow, Friday 19th December. Put your jingly bell cheesy tunes…

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Billy in the Lowground are Halfway Up The T-Shirt

It’s been on my to-do list far too long, overdue to tick it off. Foot-tappin’ West Country folk ensemble, Billy in the Lowground released this album at the end of August, apologies for not mentioning it sooner, but it is worth mentioning, very worth mentioning….

Rather than baked bean stains halfway up most of my T-shirts, this seven track release Halfway Up the T-Shirt, refers to festival billing. “Whenever we play a festival,” they explained, “we always look for our name on the official merch, and after thirty-odd years, we’re finally working our way up, away from the bottom line.. Hooray!” 

To be frank, we don’t care where any festival organiser places them on the T-shirt, with an appealing brew of weighty Scrumpy & Western barefoot fiddles and banjo shenanigans, they’ll lift any T-shirt to expose a rotund hairy belly of upbeat Irish folk, and we love them for that here at Devizine Towers!

Ambiguous is the name, a phrase in a poem about William of Orange defeating the Irish Catholic forces at the Battle of the Boyne, knee-deep in a river, most likely, but other suggestions, like the poem being a parody of Hamlet’s soliloquy, a folk song about William the Conqueror, even “Billy” being slang for a Yankee soldier in the US Civil War, have been passed about, but you didn’t need to know that! You only need to know Billy in the Lowground have been musically ploughing their field since 1991, and have consequently become hugely proficient at it.

Halfway up the T-Shirt is seven strong tracks of goodness, not quite an album length but longer than an EP, a novelette if it was work of literature. “Fact is, we could only afford to get seven tracks finished before we ran out of cash,” they said, so buy this if only to get them more studio time, because it’s a worthy seven tracks to leave you yearning for more.

Follow My Road is a ripping opening, with guest guitarist Rob Fawcett. It’s a hard rock groove, a blues theme, with the uplifting riff of The Levellers at their finest. All Hail the Clown follows suit, it rolls heavy with a healthy dollop of sublime fiddle. So the Story Grows, three tracks in, takes us in an irresistible, rootin’-tootin’ bluegrass melody. With Be It Good, Be It Bad the fiddles and twangy guitars of bluegrass continues, but this one really brings out the Dylan-esque rawness of Chris Hibberd’s gritty vocals, uptempo and reminding me somewhat of Subterranean Homesick Blues, if it was recorded live at County Louth’s Ti Chairbre. Unsure why, as the whole album has that raw energy; it’s a Billy in the Lowground trademark, and it’s beguiling.

The album is stylised and flows on a lofty level, given this, Billy should be at the collar of the shirt. Fallen Queen is a monster to hail along to, fire you up akin to The Pogues’ Transmetropolitan, but paced. The penultimate Part of The Show builds in layers unlike the others, and for this it’s the most epic. Already released as a single, the finale, No Chance for a Slow Dance does what it says on the tin. Billy in the Lowground at their finest, it bears all the hallmarks of a magnum opus. It’s rinsed with upbeat fiddle and banjo, it takes you on a journey similar to The Dropkick Murphy’s, and impossible to stay still to; yet the whole album is gold, sprinkled perhaps with some mud kicked up from the field you’re dancing to it in.

I saw them at the Bradford Roots Festival, in that purpose-built breezeblock beauty. The acoustics in there are incredible, but next time I see Billy in the Lowground I’d favour it being in an ancient west country boozer where the carpet smells of wet dog hair and the odour of campfires drifts through the windows. Where the cider is passed around a packed crowd of steaming boaters, the band play stacked on top of each other in an alcove, knocking brass plates off the wall behind them! That said, they are at The Three Horseshoes in Bradford-on-Avon on 11th October, not that I’m calling anyone names!


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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Devizes Winter Festival This Friday and More!

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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!

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Signs and Wonders of The Burner Band

Popping immediately into your head with fun songs you’ll be singing for the rest of the week, while breaking out in denims, Leeds’ The Burner Band kick off their debut album, last week, Signs and Wonders with a rock n roll blinder, but that’s not all they’ve got in them.….

The subsequent tune to Blues Came In, though, Block out the Sun, suggests, rather than mellowed blues, the blue is here cowboy-boot-tapping bluegrass, with spurs. A fast-moving fashion which continues throughout the album, fusing all Americana influences, and yeah, it sure is above snakes catchy.

As a solo artist, vocalist and guitarist Lewis Burner has supported the likes of Bob Log III, The Coal Porters and The Legendary Shack Shakers, appearing at Broadstairs Folk Week, Orwell Bluegrass Festival and Strummer Camp, and released two albums. Here he collaborates with Ian, absent surname, to create the duo The Burner Band, and it certainly does burn!

Company Man is acoustic goodness, nods towards Simon Garfunkel’s more upbeat moments; deep-rooted Celia, for if as their PR document suggests punk is an influence as well as bluegrass, and rock ‘n’ roll, it’s coming through remarkably subtle, typically folky. I say this because there’s a professional feelgood factor to The Burner Burner, rather than the rawness and unskilled tenet of punk; the simple country pop sound of it Takes Two, four tracks in, is enticingly gratifying, yet afterwards, this album takes serious themes, without losing the appeal.

You, the Devil and Me deals with grief, Search Deep, Find Out assesses morals and judgements. There’s subjects of mental health and murder, but it retains, above all else, it’s catchy charm and slither of flippancy, just by the upbeat nature.

Voodoo Queen, seven tunes in, being the most diverse with its Latino undertones, whereas with Pray for the Light, the folk-punk is now coming across, and it’s welcome to. Thing is, even suggestions of blues, as in Too Much Blues, is only in topic, sound-wise it’s rock n roll, leaving one to ponder if The Burner Band are capable of mellow! Though maybe they just held out for the memorable title track at the very end, with its Springsteen-esque narrative.

It’s certainly lively, filled with exhilaration and excitedness. It also sounds sincere Americana, even when dealing with satirical themes; Liverpool’s campaign to rid the city of The Sun, being most poignant. Penned wise, though, I loved Don’t Have To Listen the most, reflecting on teenage ignorance against the face of authority, for secretly in my own mind, I’m still a adolescent tearaway, and maybe, in a nutshell, that’s the appeal here; forget skin cream, this entertaining, quality toe-tapping bluegrass rock n roll merger will knock years off you!

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Snow White Delight: Panto at The Wharf

Treated to a sneaky dress rehearsal of this year’s pantomime at Devizes’ one and only Wharf Theatre last night, if forced to sum it up…

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…

The Mystery of Nigel G Lowndes

Must have been about fifteen or so years ago, random folk in a pub told me they were off to the Rocky Horror Picture Show. I was surprised to hear it was still going, and had it in my head its writer, Richard O’Brien had passed away. I pointed this out, and they refuted the fact. Someone pulled a mobile phone out their pocket and, in a flash, proved me wrong. With a virtual reference library at one’s fingertips the lively debate which would’ve, in previous times, circulated around the boozer, was kaput, the potential conversation starter settled, and the pub fell silent.

In the interest of truth, provided it’s a trustworthy source, fact checking is no bad thing. Obviously, I wished no malice on Mr O’Brien, just an incorrect piece of trivia I’d picked up. But it was the first time it occurred to me, sadly, as well as the art of spreading urban myths, we live in an era where any mystery is immediately solved. I mean, loads of money was wasted hoping to find the Loch Ness Monster, but if an Android app actually proves it either way, the myth is ruined. Bristol-based Nigel G Lowndes nails this unfortunate reality in the title track of new album, Hello Mystery.

But whoa, we’re getting ahead of ourselves. Mystery is the eighth track of this varied ten track show, released tomorrow (26th March 21.) To commence at the beginning, the direct boomer, Boring screams Talking Heads at me, and I’m left thinking this is going to be an easy ride, one comparison to art-pop and I’m done. But, oh no, far from it. And it’s all because Nigel is a one-man variety show. To conclude there’s elements of tongue-in-cheek loungeroom and easy listening, akin to Richard Cheese or The Mike Flowers Pops, although there largely is, is not to have listened till end, where the finale Always Leaving London, is an acute folk-rock acoustic masterwork.

Track-by-track then is the best method to sum up this highly entertaining album. As I’ve mentioned you’ll start by contemplating he’s a 21st century Talking Heads without the punk edge of the era. But the second song, Tell me Tomorrow would confirm this if it wasn’t so much more vaudeville than the risky titled Boring, (as all of it is far from boring) but it’s becoming clear not to take Nigel too seriously.

When a relationship breakdown, caused by the partner’s affection for some critter-like pets he buys for her is the subject matter for the third, bluegrass parodied song, Furry Little Vampires, it’s become laugh-out-loud funny. Country and doo-wop merge afterwards, but the fifth track, Bubble, has a Casio keyboard samba rhythm with a floating romance theme. What are you doing to me, Nigel?!

As randomly foodie based as Streetband’s Toast, we’re back to uplifting art-pop with the very British notion a cup of tea will sort all your problems out, even psychosis. But random as this is, White Roses, which follows, is a more sombre nod to Nigel’s appreciation of country. Stand alone, it’s a gorgeous ballad; Nigel recognises the need to know the rules in order to break them. As he does by the very next song; Shoes follows country-rock again, but with a sillier, nonsensical subject.

The album plays out on the country tip, its influence seems to build throughout. The aforementioned obituary to mystery is as wonderful in thoughtful narrative as a country classic, and then we’re treated to Always Leaving London. Despite its skipping variety, nothing on Hello Mystery will, as the beguiling opening track shouts, bore you, that much I can guarantee.

If you’re looking for dopily swaying while holding your elongated black and sapphire dyed fringe under your hoody, as a melancholic indie-rock icon miserably recites his teenage anguish with a whining semitone through his nose, then avoid this. For everyone else, Nigel G Lowndes is very worthy of your attention; a sparkly beacon of showbiz, more surprising than a contemporary David Byrne with a Stetson, and when it comes to diversity, it puts The Mike Flowers Pops back on the shelf in the garden centre. Hello Mystery is as it says on the tin, and for this I give it full marks. Johnny Cash pastiche meets Tonight at the London Palladium; love it!

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Spotify Link to Nigel’s singles from the album, released tomorrow, 26th March 2021.

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Stone Circle Wiltshire Music Awards Will Continue into 2026

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The Lost Trades Float on New Single

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Barrelhouse are Open for Business with New Album

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It was never just the fervent ambience created which made me go tingly with excitement about Melksham’s young indie band Between The Lines’ demo single Fading Time, it was the profusion of potential. A latent…

Three Times Better; The Lost Trades @ The Southgate

From Robert Johnson selling his soul to the devil at the crossroads to bipolar bank robber George “Babyface” Nelson, there’s so many Americana mythologies and folklore veracities apropos in the Cohen Brother’s “Oh Brother, Where Art Thou?” I could draft a lengthy essay. One I’m reminded of last Sunday down our trusty Southgate, was the scene depicting the Carter Family singing “Keep on the Sunny Side” at a governor’s election rally. Reason; there’s something simplistically bluegrass about The Lost Trades, matchless vocal harmonies, ensuring the circle is unbroken, even in a distant Wiltshire.

It was only a whistle-stop to wet my whistle, and when I did arrive the trio I’d came for where on their break. Tamsin was selling handcrafted spoons and lesser original band merchandise such as t-shirts and CDs, Phil was lapping the pub chatting enthusiastically and Jamie was having a pint with his family. None of this really matters, as individuals, we’ve rightfully nothing but praised these marvellous local musicians. When they formed a more official grouping and the Lost Trades were born, we broke the news. Neither did it matter, at the time, that I would be unable to attend their debut gig at the Village Pump. I had my new writer Helen offer to take my place, and what is more, I knew I’d be catching up with The Lost Trades in due course; couldn’t have predicted the impending lockdown the following week.

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Yet prior to Sunday I had ponder if there was anything else to write about these individuals we’ve not covered in the past, but I was wrong. The angle can only be the difference between them as individuals or periodically helping one another out at a gig, to the trio The Lost Trades. Because, when they did everything was very much adlib, with the Lost Trades three minds are working closer than ever before, and if two brains are better than one, three is not, in this case, a crowd.

It wasn’t long before they resettled, and huddled in the doorway of the skittle room playing to the crowd in the garden, as is the current arrangement for these brief acoustic sessions at the Gate. They joyfully toiled with a cover of Talking Heads’ “Road to Nowhere.” This was followed by my favourite track from Tamsin’s album Gypsy Blood, aptly, “Home.” Topped off with a sublime version of Cat Stevens’ “Moon Shadow.” But I did say it was a whistle stop.

In consolation I picked up their self-titled debut EP, something I should have done months ago. With this beauty in hand I could take a little of The Lost Trades home with me; it’ll play perpetually through those thoughtful moments. Recorded in session at The Village Pump, “because we really like the acoustics in there,” explained Tamsin, here is a recording oozing with a quality which, despite predicting, still blew me for six. As I say, it’s the combination of these three fantastic artists in their own right, as opposed the jamming we’ve previously become accustomed to, which really makes the difference.

Five tunes strong, this EP equally celebrates these three talents and harmonises them on a level we’ve not heard before. The acapella beginning of the opening tune, “Hummingbird” glides into stripped back xylophone and acoustic guitar, and is so incredibly saccharine, it trickles like some beatniks performing on a seventies Children’s TV show. Yet, it works. In true Simon & Garfunkel manner, it’s not mawkish, just nice.

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Hummingbird serves as a great introduction, but is by no means the template. As is commonplace, from the Beatles to The Wailers, The Trades, I detect, conjoin the writing effort but the lead singer seems to be the one who plucked the idea. “Good Old Days,” then, screams Jamie at me, who leads. It has his stamp, ingenious narrative centred around thoughtful prose. “Wherever You Are,” likewise is a Tamsin classic, wildly romantic and wayfarer.

“Robots,” follows, the quirkiest and perhaps erroneous after an initial listen. Yet through subtle metaphors the satirical slant charms in a manner which nods Phil Cooper, and why should one stick to a formula in subject matter? Because the sound is authentically Americana of yore, Robots superbly deflects the notion it’s lost in a bygone era and cannot use modern concepts, and Robots ruling the world is, however much a metaphor, still fundamentally sci-fi, and that makes for an interesting contrast. With that thought in mind, this could be the track which stands out for originality.

As in this review, we’ve returned to the unbroken circle. In full circle the final song, “Wait for my Boat,” is a sublimely cool track, casting a direction the trio are clearly heading. For although Jamie leads, there’s elements of all three middle tracks combined in this sea shanty sounding song. It’s metaphorical, romantic, with sentimental narrative. It wraps up the EP perfectly, leaving you hanging for the album they’re working on.

Yes, the Lost Trades is a live group you need to see in person, but this EP really is way beyond my already high expectations. It’s combination of talents is honest, bluegrass-inspired acoustic gorgeousness you need in your life.

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