REVIEW – Phil King @ White Bear, Devizes – Sunday 13th October

Sheltered From The Storm

Andy Fawthrop

Well the weather had been pretty wet all weekend, and Sunday afternoon was no exception. Good excuse then to hunker down in the White Bear with a pint, and listen to one of the best singer/ songwriters in the South West.

Phil King hails from Bristol, and is now (despite his still-youthful looks) a veteran of the SW live music scene, having played pubs and clubs all over the region, together with festivals, and stints with touring musical theatre productions of “Jane Eyre” and “To Kill A Mockingbird”. So this guy definitely knows his way around a song and a guitar.

And I’ll declare an interest here – I’ve been listening to Phil for several years now, and I’m a complete fan. There was no way I was going to miss this one.

His latest album is The Wreckage, and he was keen to showcase several numbers from that record, but thoughtfully mixed in with several numbers from his back catalogue (The War I Cannot Win, Do Not Surrender, Black Wind Blowing and When Will I Ever Learn), and some beautifully-reworked covers (Merle Haggard’s Sick, Sober & Sorry, and even If I Only Had a Brain from The Wizard of Oz). His opening gambit was Dylan’s “Shelter From The Storm”, a comment on the weather outside perhaps. And thereafter we were treated to two sets of incredibly beautiful songs, each one tenderly and carefully delivered. Phil’s voice is smouldering and smoky, distinctive and an instrument of great subtlety, switching effortlessly from a haunting, gentle whisper through to a full-throated howl of pain. His guitar-playing was careful, intricate and beautifully crafted. There were no loops, no stomps, no gimmicks – just the man, his guitar and the very occasional use of harmonica.

The whole performance was simply mesmerising, and there were times in the crowded pub when you could have heard the dropping of the proverbial pin. The audience was an interesting mixture of people who had never seen/ heard him before, together with obvious fans sitting mouthing the words to the songs. It made for a great and appreciative atmosphere.

“Superb”, “amazing”, “sublime” and “extraordinarily good” were phrases I heard around the place. Not my words, but the comments of people around the room. To be honest, it’s actually difficult to define what a singer/ songwriter could possibly do to give a better performance.

Absolutely fantastic afternoon of class entertainment.

There are more Sunday Sessions to come at The White Bear, so watch their Facebook page and, of course, here on Devizine.


© 2017-2019 Devizine (Andy Fawthrop)
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Train to Skaville, Called at The Foresters Arms

If Devizes’ thriving live music scene lacks one thing, in my humble opinion, it’s ska. I got to get over my grumpy, staying-in head-state for fear Celebrity X-Factor is the best mainstream telly can thrust upon me, drive to the Sham, if only for a pint. Ska will force my hand if nothing else will.

The Foresters Arms is a new one for me, but it’s immediately attractive, in a humble way. Functional, even for the eight-piece ska-cover maestros known as Train to Skaville. They fit comfortably; Devizes needs something like this, a reasonably sized pub-venue for a brass section to bounce, and a landlord wearing a Fred Perry and cherry Doc Martins. Proof was in the pudding; we are missing out.

It’s a welcoming and friendly community spirited pub, with ample space to skank rainy blues away. Amidst bustling crowd of young and old, male and female, black and white, there was a point when the landlord was up having a jig himself, for jolly example. And a band, if whose appeal seems to fizzle east of Bromham, are welcomed with open arms here. I can’t drum this point any further, Train to Skaville are brilliant.

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If doing this ska show on Boot Boy Radio has taught me one thing, it’s that this division is far from an aging retrospective minority who can’t shake their Two-Tone youth culture, rather an international burgeoning scene where bands under a “Ska-Family” banner aspire to create new and original tangents. The foundation of which, though, is that classic period where the Windrush generation gifted us this offbeat sound for us to exploit to the max, and Train to Skaville embrace this. They are not out to be the next best thing, rather to supply an audience with the benchmarks they know and love, and to get them off their seats. They do this, with bells on.

Propping the foyer of the Foresters during the break, I laughed that although it was raining, it was nicer to be huddled inside, rather than the last time I caught this act, on a drizzly St George’s Playing Field supporting Neville Staple. Jules of the band remarked happily that they could play Specials covers too, which were crossed out of a setlist prior to Neville wanting to understandably do them. Train to Skaville did just that this time; Ghost Town, Rat Race, Gangsters, you name them, they covered them with unique panache, a cut above the average ska covers band. Alongside typical Madness and Bad Manners floor-fillers.

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But it doesn’t stop there, their repertories know no bounds, as they break it down to reggae anthems, owning Bob Marely’s “Is This Love,” Marica Griffith’s “Feel Like Jumping,” and Tim’s heart-warming rendition of Ken Boothe’s “Everything I Own,” a tribute to his mum who he recently lost. There were tears, but veneration as the band played through. Our respect and condolences go out to Tim and his family.

I find though, even greater than knocking out known ska classics, or bouncing to boss reggae, when a ska band can produce ska versions of pop songs. Sometimes amusing, sometimes out of admiration of another genre, but for a ska-fan, often better than the original. Train to Skaville also have a line which branches out here, as a skanking Echo Beach rang out towards the end of the first half of the show.

A great night, great surroundings, and sure sign for me that Devizes needs to skank it up a bit!


© 2017-2019 Devizine (Darren Worrow)
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REVIEW – Jon Amor @ Long Street Blues Club, Devizes

Triumphant Home-Town Gig

Andy Fawthrop

I think it’s fair to say that both Jon, and a lot of the audience last night, had been looking forward to this gig for quite a long while. No surprise then that a packed room was there to witness one of the gigs of the year.

Support act was Thomas Smurthwaite, an artist I’d not seen before. But it didn’t take the guy long to impress me and the rest of the room. An imposing, grizzled and bearded figure, he seemed slightly dwarfed by all the equipment set up on stage around him. But sound-wise he punched well above his weight with voice, guitar, harmonica and stomp-box. His set was confident, laid-back and bluesy. In a short 30-minute set he won the crowd over, finishing with a great singalong version of Janis Joplin’s “Oh Lord, Won’t You Buy Me a Mercedes-Benz?”

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Then on with the main act, and the reason we were all there. Jon, stick-thin and suavely suited & booted, was there to tour his latest album “Colour In The Sky”, and he was joined on stage by an impressive band of old friends and great musicians – Jonny Henderson on keyboards, Mark Barrett on drums, with Little Geneva’s Dave Doherty on guitar, and brother Chris Doherty on bass.

From the first number, “Faith Reborn” we were in for a treat. Thereafter Jon picked his way through several numbers from the new album, carefully interspersed with many favourites from his back catalogue of albums and bands. The rhythm section, as you might have expected, was solid and strong, laying down a great platform for Jon to let rip with some great solos. The keyboards added that bit of extra depth and texture to the songs. And they were proper songs too, not just excuses for long rambling improvisations, with clear beginnings and endings, Jon’s vocals stringing it all together. This gave the band plenty of opportunity to show off different styles, moving from rocky to bluesy and back again.

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Jon was on great form, clearly relaxed, laughing and joking with the crowd between numbers. There was no doubt that this was a home-town gig, and there was plenty of love in the room. And deservedly so. Jon is a world-class artist, and deserves it for the crowd to let him know it.

Highlight of the night for me was “Juggernaut”. This was the first time I’d heard it played in full-band format, and it was worth waiting for – heavy, driving, and really solid – a real classic.

Absolutely great gig, wonderful night out.

If you haven’t yet bought Jon Amor’s album “Colour In The Sky”, you need to get a copy!

And if you haven’t yet made it to Long Street Blues Club (at The Conservative Club), it’s time you made the effort – world-class blues & rock entertainment in a great atmosphere at an absolute bargain price. Tickets for future gigs from Devizes Books, Sound Knowledge (Marlborough) and from the club itself.

Upcoming gigs at Long Street Blues Club are:

• Saturday 2nd Nov Big Dez Blues Band
• Friday 8th Nov Ian Siegal Unplugged
• Saturday 30th Nov Gerry Jablonski Band
• Saturday 21st December John Coughlan’s Quo (support from George Wilding)
• Saturday 28th December Pink Torpedoes


© 2017-2019 Devizine (Andy Fawthrop)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.


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Phil Cooper Falls at Your Feet

I’m adiaphorous to Crowded House, I confess, probably due to timing. Late eighties, early nineties and like many-a-teenager I was gurning in a field, revelling developments in music technology. If I couldn’t dance like a puppet on fast forward to it, well, you know, some good things pass you by. This is not meandering off subject, it’s a point I’ll return to, after a heartfelt apology to the man who, this week, has produced a fantastic cover of their song “Falling at Your Feet,” and is long overdue some updated attention here on Devizine, Mr Phil Cooper.

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So, it was a compare and contrast job, flicking to YouTube to hear the original, and back to confirm this Trowbridge singer/songwriter’s version, not overlooking the added harmonies of Jamie R Hawkins, is equally sublime. The only difference being Phil’s stamp, which is never a bad thing. There are occasions, such as Eric Clapton’s I Shot the Sheriff, which opens someone’s eyes to the original artist, so maybe this, alongside People Like Us who regularly cover Weather with You and make me smile, will shake me up to the songs of Crowded House. Prior, if handed them on the three-in-ten finale of Ken Bruce’s Pop Master, I’d get Weather with You, and then epically fail. Always wanted a pop master t-shirt over a DAB radio anyway (fib.)

Feeling it hugs the original pretty tightly, with a passion in Phil’s vocals which nods to the respect he obviously holds for Crowded House, there’s not much more I can say on the single, other than encouraging you to take a listen. Oh, and I hope it’s not Phil’s Red, Red Wine moment. You know, after that hit, UB40 transformed into a cover band (one reason I cringe with irony when tribute bands take on a name of one of their numerous cover versions.) Because, well, Phil’s song writing ability is first rate and, with or without the trio of aspiring local musicians; Jamie and Tamsin Quin, his input would be greatly missed.

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Leading me neatly onto why I started with an apology to Phil, as fallen to the bottom of my dusty in-tray was the promise to write something about a previous project. Double-whammy then, this one dates back to summer, when I thought Phil had a new album called Nine. Whisking him a message it became clear via the reply, Nine was an older project. “I’ve decided to release it on streaming sites for the first time to celebrate it’s ninth year, nine month and nine day anniversary,” he explained.

The Nine Album was originally recorded on 9th September 2009 (09/09/09.) He wrote nine songs between the 1st and 9th and started recording the album at 9am on 9th. The album was completed that day and released at 9pm that same day, which I think clarifies the title adequately! But it coincided with a complete reworking of the album by his indietronica alter-ego, B.C.C, titled “Nein.”

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Maybe, I figured, its title’s conversion to German nods to the pioneers of electronic music, Kraftwerk and Tangerine Dream, as BCC is Phil’s ambient electronica side-project. Now this intrigued me, note my promise to return to my point of the rave days of yore. My love of dance music obviously holds dear to its roots in electronica, often retelling the occasion of first hearing Afrika Bambaataa’s Planet Rock in 1982 as the epiphany of said era. Yet through all the technological changes from the punks turning new romantic, to the birth of hip hop, the development of house, techno and drum n bass via the rave scene, and the thousands of offshoots since, Phil’s BCC stays close to the simplicities of early electronica, rather than do a Damon Albam and push new boundaries with Gorrillaz. So, it’s nice, yeah, it’s breezy and experimental for Phil, and if you like his music, it’s essential to check this out, but still, I dunno, may be it’s an age thing, because if you asked me which one of Nine and Nein I favoured, it’d be the original.

Blast, I’ve hung up my whistle, posse! Fetch my pipe and slippers.

For Nine is like what The Wild, the Innocent & the E Street Shuffle is to Springsteen, if Thoughts and Observations, an album which I think was the first I ever gratefully reviewed on Devizine, is his Born to Run. Relishing in the roots of a musician or band I love, discovering early works, and for this, Nine is fantastic, it captures Phil at his rawest, most ambitious, and if it fails to be as polished as Thoughts & Observations, that’s its charm. Tracks like Cloud Nine, Where I Belong and You are wonderfully composed, beautifully written. However, the BCC project might put an interesting, electronic spin on it, worthy of attention, some things, I feel, are best left the way they are.

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But that’s the package you get with Phil, what a prolific genius who cares not about defining a distinct style, though has crafted an excellent one, rather ventures out there, to experimentation, to stripping back or developing a track. You have to hand it to the man, for this works on his marketing side too, a DIY enthusiast who’ll do radio but live stream shows, release on all online sources but still strive to produce a CD, a blogger who maintains an honest, familiarity with his fans, and as a promoter and producer for the trio he has done astounding works with Jamie and Tamsin.

So, if it’s solo Phil Cooper you’re listening to, or if Jamie or Tammy assist him, or if it’s a track of theirs he’s produced, or as BCC, or Get Schwifty – Phil and Jamie’s cover duo nom-de-plume, you know it’s been stamped with Phil’s distinctive style, and it’ll sound great. Which brings us full circle, and is darn good reason to check out this Crowded House single, because if Phil wants to do a cover, he will, and make it sound awesome. But for the full package, I advise you like his Facebook page, follow his Bandcamp page, subscribe to his YouTube, and naturally catch him live (next gig on 8th November at the Southgate, Devizes, Jan 23rd at The Tuppenny, live stream this Sunday at 6pm; the guy never stops for a cuppa and a garibaldi.


© 2017-2019 Devizine (Darren Worrow)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.


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REVIEW – Hadrian’s Union @ Southgate & Jamie R Hawkins @ White Bear, Devizes – Sunday 22nd September 2019

Another Great Music Sunday Afternoon

Andy Fawthrop

First to The Southgate, where Dave & Debs continue to provide a platform for acts of class entertainment. Today it was 5-piece folk-rockers Hadrian’s Union, a band completely new to me. Except that their fiddle-player Penny wasn’t actually with them, so they just carried on as a four-piece, on their Penny-less tour. Geddit? Oh, never mind.

The line-up included Saul Rose on drums, Brian Bell on 5-string bass, Robin Jowett on melodeon and keyboards, and founding member Stew Simpson on guitar and vocals. Saul Rose, who produced their last album, is as good as folk royalty, having played with a wide range of famous folk bands (Faustus, Mawkin, Eliza Carthy’s Wayward Band). Normally he plays accordion, but had decided, just for the hell of it, to get back to his first love the drum-kit.

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They hail from the debatable northern lands of the English and Scottish borders, and had had a very early start that morning in order to make this gig. Their name originates from the locality and mindset of the band, since their separate members are based along various points of Hadrian’s Wall. They come to the band from various music genres – folk, punk, rock, blues, Celtic, ska etc – which reflects in the music they create together. They quote their musical references as Lindisfarne, Jethro Tull, Stackridge, and The Bonzo Dog Dooh Dah Band.

I quickly discovered that this meant an eclectic and varied set of self-penned songs, but paying musical dues to all those traditions. One minute we were in full rock mode, the next minute we were in a folk club, listening to traditional morris tunes. If they are rockers, they were very folky, and if they were folkies, they had a mean line in driving blues/ rock. Great stuff, and the packed crowd really lapped it up, whooping and dancing to just about every number. The sound was relaxed, yet tight, and every number was delivered with confidence and impeccable timing.

Upcoming gigs at The Southgate are:

• Friday 27th Sept Pink Tribute (Beautiful Trauma)
• Saturday 28th September Phase Rotate & Cobalt Fire
• Friday 4th October James Hollingsworth
• Saturday 5th Oct ober Jon Walsh

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Then back into town to the White Bear, for the latest of Marc & Georgie’s Sunday Sessions, this week featuring local favourite and all-round good egg Jamie R Hawkins. It’s a sign of the level of esteem in which Jamie is held that this was probably the best crowd these Sunday Sessions have attracted so far. This time not surrounded by & supported by his musical friends, but playing the whole of his two sets on his own, Jamie delivered (as ever) a superb performance of self-penned and very personal songs. Those of us who have been following him for a while are obviously familiar with much of his material, but we never tire of hearing those songs again, especially when each performance (like this one) is delivered with such intensity and feeling. And of course, we liked the way he works in the new songs. The atmosphere was great, the crowd loved it, and we had a great afternoon all round.

Next week’s Sunday Session (29th Sept) @ The White Bear @ 5pm features Fraser Tilley.


© 2017-2019 Devizine (Andy Fawthrop)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.


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The Malone-Sibun Band and Joe Hicks at the Long Street Blues Club

A cracking night for our blues club last night, which I managed to finally appear at!

After publishing a run of awesome reviews from our man Andy, and with a flimsy hunch he wasn’t going to make it Saturday night (though he did,) I figured it high time and a good opportunity to break my Long Street Blues Club cherry; can’t let him have all the fun.

If I only popped my head around the door towards the end on a previous occasion, it was plentiful to note in our preview of their new season that, “there’s a lack of background noise at Long Street, the audience don’t chitter-chatter through the act like the backroom of a pub, it’s a fully entrancing appreciation society.” In fact, upon entry I was thanking Ian Hopkins the organiser, only to be shushed by a member. Who shushes at a gig? At least one in a hall chockful of blues aficionados captivated by the music, that’s who!

After pondering out loud, feasibly too loudly for this attendee, if this blues club needs a review at all, being it’s marked with exceptionally high-regard on our music scene and the hall of the Cons Club is bustling, I took heed of Ian’s reply, “any publicity is good publicity,” and tiptoed to the bar as if in a Christian Science Reading Room.

With family ties to Devizes, we’ve mentioned the support act on Devizine in the past, and it was good to finally meet him, even better to hear him perform live. Newbury-based answer to David Gray, Joe Hicks is wonderful, simple as. At ease with his surroundings he chats enough only to tune and give a modest synopsis of the following song, or to praise Livewired, for his last gig at the Electric Bear in Bath. He delivers his original songs with appetite but no strain, and aptitude which he makes look like child’s play. Among others, we were treated to his new single, Swim and another spellbinding comfort song called Rest Your Head. Mildly dreamy rather than sombre, his chants sublime, making a perfect cover of Fleetwood Mac’s Everywhere so apt for a finale.

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Now for the main act, you know how levels of cool range? I mean, there’s that mate in the pub with the amusing party-trick, he’s pretty cool, right, but compared to someone like Hendrix, he’s a total nerd. Smoothly Detroit’s Marcus Malone frontstages, oozing cool from his gaze to his fingertips like the lovechild of aforementioned Hendrix and Lenny Kravitz. His talent replicates his persona, and combined with a tight band, and Devizes-own electric blues guitar-legend, Innes Sibun, this is loud, proud and quite simply, mesmerising.

I realise now, witnessing the brilliant Beaux Gris & The Apocalypse, and Mr Amor, I was only a fraction engulfed into my epiphany of contemporary blues, the Malone Sibun Band completes it. Innes may appear more like that air-guitar playing headbanger at school who was asking for bullies to pick on him, drawing metal band logos on his army surplus bag in biro and all, but this guy wows and visually loves that he’s wowing, probably sighting a said school tormenter in the crowd, rocking out! The quality of this duo, this collective, is second-to-none, and their music takes no prisoners.

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It was rock, harking back to times of yore, when the blues influence was prevalent, yet more refined than psychedelic sixties, edging more towards traditional Delta or jump-blues than even Cream and Hendrix did. In contrast it was gritty, persistent and never waived from its ethos. Whether leisurelier tempo or all-out detonation, it was not experimental, rather a tried and tested formula. It neither clichéd or borrowed from previous works, it never waited for you to compare it, it was entirely unique, and it was full on in your face. There was no sing-a-long section, popular covers, there was no idle chatter; they came, they saw, they blasted their labour and treasured every minute of it.

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I was left entranced, my jaw hanging low and my mind whisked away, as said noise restrictions of the club crumbled, and its preconceived barriers collapsed, there was no associating the Long Street Blues Club to a library any longer. In all, this club may attract an older majority, but if you’re thinking fuddy-duddies you’d better think again! Next up, Jon Amor, his full band, on the 12th October, but you’d have known that if your read our preview! Yep, in it I did speculate The Long Street Blues is “simply addictive. Hook line and sinker,” I feared, “they’d have me in the palm of their hands.” It’s confirmed now.


© 2017-2019 Devizine (Darren Worrow)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any im ages or text is forbidden.


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Thank You, Jamie R Hawkins

If all products are carefully marketed towards a specific target audience, none I feel, are as precise as boxes of chocolates. The whole idea of taking an everyday item, the sort you might shout to your driver as he approaches the garage, “and get us a Twix,” when stuck in a box suddenly becomes a rare treat, gifted by an acquaintance for a special occasion. It’s vital you pick the correct box to suit the message; while a Dairy Box says “happy birthday, Gran,” Milk Tray says “get your kit off love!”

Connotations all in the packaging and advertising, push comes to shove, they’re the same bloody thing, but last thing you want is to hand your gran some Milk Tray. Often, it’s fallacious, a Flake is the most unsuitable chocolate bar to eat in the tub, no matter what the telly might tell you. That’s why you have to hand it to the Cadbury’s Roses ad campaign, for while it’s not the best box of chocolates, it is somewhere in the top five. But it’s the across-the-board implications; anyone can buy a box for anyone, for any reason; it’s choco impartial. Buy Roses if you don’t want the receiver to assume you see them like your grandparent, or you want to snog their face off until sore. “It’s just to say thank you;” yeah, yeah, clever bastards.

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New single out from Jamie R Hawkins then, unless you’d rather me waffle about chocolate? It’s like Roses though, it’s a universal thank you, for friendship, and while it may not the best Jamie R Hawkins song, it just rocked up somewhere in the top five. Though Jamie has pre-set his bar high, and if his May single, Welcome to the Family was quirkily agreeable, Thank You, Friend harks back to the classic sentiments we love Mr Hawkins for. Diluted, this song is more general and will infectiously touch all who hear it, as concentrate it profoundly assesses what a friend is, and how they’re capable of helping, in a manner The Beatles only skimmed the surface of.

Another perfect production for Phil Cooper; Jamie is on top form. “I never fail to be amazed,” he sings, “That what defeats me leaves you totally unfazed, it’s almost like I’m lacking in, the thing that makes you so alive, and it’s so good to know you’re always on my side.” Just one of the beautifully rendered verses of this fantastic song which undoubtedly showcases Jamie’s brilliance of song-writing, and with conviction he chants his own words of a song dedicated to his brother with unequalled passion.

It made me think of a time he was supporting a gig at the Cons Club; I drove out of the carpark to see him perched on the wall. Offered him a lift, he was only heading for the British, but jumped in. A handshake would’ve sufficed, but Jamie gave us a man-hug; one of the marvellous reasons why I love writing Devizine, I’ll locally praise what needs to be praised, slag off what needs to be slagged, but it’s also clear most recipients don’t view me as “the evil press,” but as a friend. And it’d be virtually impossible, I’d wager, to deliberately make yourself an enemy of Jamie, unless you’re the jealous sort of song-writer, struggling to compose a song a quarter as good as this one.

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He’s here, he’s there, he’s at the White Bear this Sunday afternoon, catch him when you can, it never gets tiresome despite the fact Jamie does our circuit regularly, like a J S Lowry painting, the songs he weaves always have something different you may not have picked up on before, and his new ones, well, get better and better. This new track is available today through all the music sites. iTunes is too Thornton’s for me, spotty-thigh or whatchamacallit is too, well, Haribo; here’s the Bandcamp link, it’s this old timer’s Dairy Box!


© 2017-2019 Devizine (Darren Worrow)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.


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