Tag: reviews

The Turn; Debut Album from Salisburyโ€™s 5 Nights at Adyans

Formed just two years ago at Bishop Wordsworth’s School in Salisbury, award-winning four-piece youth band, 5 Nights at Adyans, look set to release their highly-anticipated debut album, The Turn for the 30th anniversary of the prominent community youth music initiative, Bass Connection, at Salisbury Arts Centre on Saturday 5th Septemberโ€ฆ..

I confess I was uneasy about pressing play on the link they sent. In a chat, a little birdy compared them to Devizesโ€™ export Nothing Rhymes with Orange, likely because said birdy knows how much I like them. While now, NRWO are producing concentrated material merging boundaries, they cut their teeth here with quick and catchy indie-punk-pop. I therefore, assumed this would be along similar lines.

The link sent was 5 Nights at Adyansโ€™ initial takes of songs to appear on the album, in an unedited, raw format. While sometimes raw can work, with thrashy punky sounds it usually doesnโ€™t do the band justice compared to the final masters. However, itโ€™s far from โ€œthrashy,โ€ certainly not โ€œtrashy,โ€ and I couldnโ€™t have been more pleasantly surprised as I was.

Five tunes, conveniently one for each night at Adyans; I love them all! But the unexpected twist is this; with an incredibly expressive vocal range to make Jim Morrison blush, thereโ€™s a majority of elements more akin to classic prog rock riffs than than the punk annihilation I was expecting because of the wonky verbal comparison I received!

Throughout the tracks they sent, thereโ€™s swirly psychedelic elements of a sixties acid band, crashing bridges of The Nice, the blues rock of Cream, intense ballad moments and the unstoppable moody layer-building of Led Zeppelin, rather than anything to come out of Busted or Blink 182. The band recently posted a pastiche of the Oasis album cover for Morning Glory to their Facebook page, with themselves posing as Liam and Noel do on it. Here they joked, asking if their fans thought it would make a good cover design; Iโ€™d suggest it gives the wrong impression, as Iโ€™d not compare this to ephemeral Britpop either.ย 

Darling You Got Me came across as a nicely flowing blues-rock introduction, with a hot step to it, and it was all go from the off. But it was the following, Final Location which especially captured my ear, as the tempo slowed to ballad; if thereโ€™s punk there itโ€™s subtle at best, matured. Itโ€™s gorgeously expressive and emotive, but Final Location isnโ€™t an exception; it becomes the rule. 

Tear it Apart also goes there, albeit upbeat, like Rush. Title track Turn brings the dramatic to an apex. The emotional outpour is in full splendour, would appease anyone coming from an aged rock spectrum, and theyโ€™d likely assume 5 Nights at Adyans have been at it since 1976! With this thought in mind, this band could save your multi-generational festival!

At times itโ€™s also the mood-shifting sentiment more akin to soft metal rather than grunge. I mean this as the highest compliment, because moodswing is one thing metal could do exceptionally, when it came to aiming into an eighties pop chart. Think how Guns & Roses timelessly transcend the changing trends with their power ballads, like The Doors did decades earlier, whereas the others โ€œhalfway thereโ€ and โ€œfinal countdowningโ€ failed the test of time with their commercially viable pop-rock, now only drunken party night nostalgia can save.

I hope you get what I mean?! Because you can go back to a song like Break on Through to the Other Side; itโ€™s enduring. You can unearth Pink Floyd and listen to them again, find new solace with The Who, but often modern sounds fail to stand that test of time. If the finale of The Turn, Knots has an indie, even grunge twinkle, Iโ€™d still liken it more to something classic rock.

Thereโ€™s no three-minute hero here. All the songs are thoughtfully written and composed, are full-bodied and complete odysseys, but being a debut, I predict, might not necessarily age like fine wine, because hereโ€™s a progressive band screaming with potential to produce something far greater than the sum of these current parts, cool though they are. In years to come they should reflect back proudly on this beginning, because itโ€™s exceptionally impressive.

Surprised and impressed, with high hopes, Salisbury-based 5 Nights at Adyans certainly took me on a journey. It never fails to amaze how attuned youth can be, from a sixth form band to achieving remarkable regional recognition recently, vocalist Owen Morgan, guitarist Toby Allen, bassist Jasper Hill and drummer Thomas Clarke might spend 5 Nights at Adyans, but going on this debut, should be spending forthcoming decades concreted into rock history.

Find them on Facebook and Instagram, and await for this debut with as much patience as you can bare!

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Ruby Darbyshire: God is Offline

Wiltshire singer-songwriter Ruby Darbyshire, youโ€™re most likely familiar with, unless you joined Devizine family readerโ€™s circle today, has a new song on YouTube, one sheโ€™sโ€ฆ

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Hot Juice Project at The Three Crowns

Whoa! What happened last night at the trusty Three Crowns?! What happened last night at the Three Crowns has clearly happened before, and happens most weekends; Devizes folk old and particularly the young come to partyโ€ฆ.

I’m aware of that much. But if the quality of the party rests in the hands of whoever is at the control tower, I’d not witnessed The Hot Juice Project boiling over the sides of this saucepan before.

All I know is one half of this duo, with the capability of sounding like they’ve doubled-up and are an exceptionally loud four-piece band, Jake Lockhart, as an acoustic singer and a short-lived frontman of local mod covers band, The Roughcut Rebels. In the few occasions I’ve met him, he usually comes across charming but mild-mannered, even slightly diffident. 

The last time I met him was at the private invite opening of The Birdhouse in Trowvegas. He was entertaining acoustically solo, but being the nature of the event was to show off this fabulous new venue, participants were engrossed in conversation, rather than taking much notice of Jake. It was here we had a quick chat, as he shyly told me of The Hot Juice Project he’d created; a duo where he has creative freedom to replicate covers using loop pedals and other techy tricks.

I made a promise to him to check this out, next time he was doing it locally. So, despite my pilgrimage to the Southgate for Talk in Code, I decided to ensure I allot enough time to attend this too; glad I did, as The Three Crowns was having it.

They’d arrived via a multi-act all dayer gig in the Sham, reportedly under-attended due to insufficient advertising. Equally it can often be a slow start here, where the trend for the younger regulars, governed by economics, is to attend the local Spoons, then descend on the Three Crowns like an exodus, once they’ve acquired sufficient intoxication levels. But hey, despite a humble gathering, The Hot Juice Project were loud and proud, knocking out contemporary indie, punky covers with all the desirable force and quality of a full band.

I returned from the Gate suspecting this wonderful pub and the only one of its kind in town would be considerably fuller. I wasn’t mistaken. It was positively booming there, as The Hot Juice Project were in full flight, and their element. Knocking out beloved covers with such gusto, I was surprised to note Jake and his drummer and second vocalist Jack’s insane diversity and ability to absolutely and wholeheartedly rock out!

If, despite his earned accomplishments as a skilled singer and guitarist, Jake has been wrongly typecast in genre and style, possibly in order to cut his teeth on the local circuit, here, where singalong hard rock covers are worshipped, he shines like a beacon in an otherwise blackened seascape. 

The Hot Juice Project selected a repertoire likely to be rejected from the average covers duo, for being too technical, or too hard sounding; such as their grunge finale smelling of Nirvana’s Teen Spirit, and especially those involving raps, such as The Chilli Peppers. But this duo deliver them with fired frenzy, and adroit precision.

It was indeed a sight to see, and for me, a pleasant surprise. I usually take grunge and modern harder-edged rock with a pinch, but the crowd was lapping it up. And it would be impossible for me to deny, if live music was a parcel delivery, The Hot Juice Project is not the courier to dump it in your blue wheelie bin and piss off! They’re the supermarket delivery boy eager for appraisal, who stands and waits until you’ve checked everything off and are satisfied. Perhaps even going overboard and offering to stack it in your fridge for you!

The result is a content crowd at the Three Crowns, and another success for the pub who knows exactly what buttons to press. 

I must say, a few seconds delay with wandering between pubs could’ve hindered my ability to scribe both reviews for them. Two teenagers on a moped revved their hairdryer up the curb of the High Street and rallied full force through the dark walkway between the old Wilkos and redundant Four Seasons pub, only to alert two Devizes bobbies, moments before I would’ve walked through it!

Bored kids showing off I figured, ambiguously excused for their irresponsible and dangerous act, because there’s โ€œnothing to doโ€ in Devizes.

Whereas whatever opinion the curtain-twitchers might make of youngsters drinking in a pub, the Three Crowns strictly age check and take safeguarding as paramount. At least they are contained there, and enjoying themselves. And when they are entertained they are not impelled to cause trouble or act in such a manner. 

There’s never trouble at the Three Crowns. Townsfolk of all ages respect what the team has supplied far too much, and this reflects into a positive atmosphere with every attendance made. I tell landlord Simon, “they’re actually far better behaved than my generation ever was!โ€ Fact!

It is a testament to what can be achieved in an era of financial doubt and questionable management affecting the hospitality industry, and, as it continues to source high quality entertainment, the cover bands are welcomed by the masses. Many come and rock it, the Hot Juice Project made its mark last night to a colossal applause. The town should be proud of what a welcoming and universal establishment and a vital palace for letting your hair down the Three Crowns remains to be.

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Talking in Code at The Southgate, Devizes

I’ve got this Jetpack app on my phone which allows me to make adjustments to the site. There’s a new feature on it notifying me of articles published on this day in previous years. It revealed that on this day last year I fondly reviewed Talk in Code’s single launch gig at The Vic in Swindon. Some things never change; last night I dropped into the Southgate where Talk in Code smashed it againโ€ฆ

Some stage banter included drummer Jambo claiming he had a โ€œlot to do back here,โ€ reminded me of the year they played the Fulltone Festival where he temporarily mislaid his drumsticks!ย 

At the Vic Talk in Code play their homeground, whereas The Southgate is usually affiliated with blues or folk aficionados, and the Fulltone is an orchestral event. Although these three gigs vastly contrast, Talk in Code look equally comfy at either. If they were a creature from the Harry Potter universe they’d surely be the Occamy, a serpentine with choranaptyxic wings, allowing it the magical ability to grow or shrink to fit the exact size of the space it is in.

Just how the Occamy doesn’t change appearance, only size, neither does Talk in Code change their strictly original set, only to fit, yet still manage to thrill any crowd no matter the diversity of their bookings.

The essence of pop is imitable and “catchy,” not to be niche, or these days of sampling, even wholly original. A factor of non-commerciality is to be a cult. Talk in Code balances this with a popular fanbase, โ€œthe Talkersโ€ and this unique yet universal synth indie style which, with multi-era influences any age can reflect off, appeals to a wide range. That’s the secret of Talk in Code and it never fails to entertain.

If Talk in Code time travelled back to the eighties, there’s little doubt in my mind they’d be a classic band akin to Duran Duran, Level 42 or perhaps Ah-Ha, and they’d be playing a stadium by now. Such is detrimental changes to the music industry they thrive locally, only sporadically reaching further afield. Amidst their fanbase they are that accomplished, and deserved, as they chant their songs back to them as if they really were pop stars. For in which case quantumly, they are.

Goody bags and Lego sets of the band among their merch suggest prime and strategic marketing, still you’ve got to be in the club to know it’s true; Talk in Code will thrill not just you, but your whole family young and old. I looked around at the people dancing at The Gate, as I often do to settle my appraisal as more than personal opinion, and it proves it, each and every time. And that’s why, yeah, I bash on about Talk in Code a lot, but maybe not too much!

I’ve actually a mission at the popular Three Crowns to highlight an act we’ve not mentioned before; the next review I’ll work on. But I could never allow myself to miss a Talk in Code gig at my local. Live music at The Southgate has been such a staple for so long now, it risks folk taking it for granted, but nights like this prove it still has what it takes to be that squeeze box of quality, especially in hosting original acts like Talk in Code.

The guys took a first half of their earlier and more obscure tunes, still rocking the Gate, and a second half whereby they celebrate this continued dedication to creating danceable indie-pop anthems. Safe in knowledge The Southgate was appeased, and I was so familiar the guys would carry out orders uncompromisingly,  I headed off early to see what was occurring at The Three Crowns. Had I not been on a promise, I’d have stayed with Talk in Code, because pop demands an affliction for the familiar, at least it does when it’s as perfected as Talk in Code.

As for the Southgate, worthy gigs abound there every weekend. Keep in the loop via our event calendar, and pop down there. I endeavour to list them as they come in, though Facebook shares of their chalkboard can be more sporadic these days, and I forget to take a snap of it when Iโ€™m there!!ย ย 

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JAZZ โ€“ Our Local Guide

Andy Fawthrop All That Jazz โ€“ Nice! D-Town certainly punches above its weight when it comes to providing a vibrant and varied music scene.ย  Itโ€ฆ

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Jurassic Hillworth Park!

You know, there’s umpteen articles, studies, and even a six and half minute YouTube video explaining that Steven Spielberg’s 1993 family sci-fi movie Jurassic Parkโ€ฆ

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Blood, Sweat and Tears; Burn the Midnight Oilโ€™s New Single

Pleasantly surprised in July when an awesome new single from Devizesโ€™ rootsy Americana with a gothic twist collective, Burn the Midnight Oil revealed a more carefree and commercially viable style to their previously darker themed and rawer material. It was enough for James Threlfall to pick it up for BBC Introducing. With a new single out on Friday 28th August called Blood, Sweat & Tears you might be fooled into assuming by the title theyโ€™ve turned back to the sombre moods of before. Think againโ€ฆ..

Though frontgirl Chrissy mightโ€™ve elucidated, least hinted something darker might be in the pipeline, for now Blood, Sweat & Tears follows neatly on from Slow Burn with an incredible upbeat driving vibe, verging on Shania Twain sassy, yet retaining the cool rock riff of Fleetwood Mac. Itโ€™s immediately compulsive, with a danceable and anthemic combo. I find myself contemplating if itโ€™s better than Slow Burn, or not, but with a hook razor-sharpened, itโ€™s undoubtedly on par, and proves it wasnโ€™t pot luck in July.

With this divine product of Potterne’s Badger Set blessing my ears I also find myself reflecting back to an interview we did with the band last November. Guitarist John Lane spoke of achieving such a hook as these last two singles, and expressed the importance of the sound. โ€œFirst thing people take in is rhythm,โ€ he suggested, โ€œthen melody, last of all, lyrics. So if you hook the first bit, you donโ€™t get the second one, then they come back for the lyrics.โ€

In this I sensed a healthy division between John and Chrissyโ€™s perspectives. Knowing how much thought and creativity Chrissy loads into her writing, drawing inspiration from personal and often emotional experiences, and exporting them into relatable and poignant lyrics, there was a non-confrontational difference. I supposed of this stalemate at the time, โ€œa good blend of opinion is surely necessary to compose the elements of a song professionally.โ€ And that is precisely what they put in, making this song work; the dynamics of pop, a conscious composition where both arguments meet in harmony.

Chrissy taglines the song thus; โ€œsome dreams begin as little more than a whisper, an idea that refuses to let go, a vision that quietly demands more of you until ignoring it is no longer an option.โ€ Ah, yes, I can reflect the notion; any inventive mind will tell, thatโ€™s the creative juices flowing and the desire to express them. Blood, Sweat & Tears concerns itself with the acceptance of that call, and the feeling of unlocking your potential. As Chrissy says, โ€œbreaking through self-imposed limitations and pursuing a future worth fighting for.โ€

An expressive tenet full of contemplation and self-analysis, it remains positively angled, like Jimmy Cliff on his hard road to travel, but with steadfast faith he canโ€™t turn back because his mind is set. Chrissy views her theme similarly, as a meaningful journey of courage and determination against odds stacked not in your favour. Such concepts are not so uncommon in music, and an acoustic singer-songwriter will expose similar thoughts abound. But here, with Burn the Midnight Oil the prose is perfectly packaged by the sound of her exceptionally accomplished and unified band, complementing her natural vocal balance, and that harmoniousness is what makes Blood Sweat & Tears so complete and engaging.

Hereโ€™s their LinkTree, new single is out next Friday 28th August 2026, but you can pre-save it and listen to the last one. I suggest you do. Perks of the job; this one is stuck in my head already!

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Jol Rose For Tomorrow

New single from Swindonโ€™s finest Americana singer-songwriter Jol Rose, the kind of artist whoโ€™ll finish a song and leave a jammed pub in such aweโ€ฆ

Book Review: Dave McKenna’s Death Wish

It was back in March last year when I last mentioned Devizes author Dave McKenna,ย reviewing his debut, The Killer & The Catalyst. He’s returned withโ€ฆ

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Hillbilly Hootenanny โ€“ not just for Hillbillies!

by Ben Niamor & Victoria Stanley

Owing to a hectic life, a slightly belated review and celebration of an amazing weekendโ€ฆ.

The Music Baa, run three key events a year, a friend went to the folk one earlier in the year for one evening and gave some feedback that was shared by the team, on their socials and it was deservedly complimentary, and he goes to a great many more festivals this size and smaller than the author does!

It was music to my ears as we already had tickets! My other half and I have not been to a festival for years, for various reasons, but spurred on by familiar friends on the bill, and some new names to us that we would be assured we would enjoy!

We arrived to an already bustling campsite a couple hours into access to camping, and found a happy, well-organised team all well laid out, nice and simple.

As you can see on their page the site is limited to 500 tickets, and everything is really close to hand.

The single bar and stage under a huge tent, with gaps in the bill sufficient to get out the heat under our shade canopy, read, chat to the neighbours.. just a true chance to relax, which is what we had anticipated and chosen the event an hour away from home for.

So letโ€™s start with the usual festival opinions I can recall being the same when in another lifetime, it feels like I was going to Glastonbury, Guilfest etc.. letโ€™s just quickly round them up..?

Toilets and showers โ€“ eco toilets, wood shavings if you poo, apparently not for everyone but I welcomed the fresh air in those surroundingโ€™s in such hot conditions, privacy no issue, but air movement certainly designed in. My take really simply…a portaloo in summer is deathly horrible thing, so with green credentials ensured, and them being well serviced and wash hand facilities alongside.. good solutions. the showers were spacious and similarly thoughtful of space and readily accessible. Basic but functional.

The Baa (sorry Bar) โ€“ I heard some dissenting comments but you canโ€™t please all the people all time.. for me and her, our opinion was happy to pay significantly less than festival prices we have heard about.. for quality choices. If people drink generic pales or lager at home or in Wetherspoons then real-world pricing will always be a bit of an uphill struggle for them. I gathered a good few people donโ€™t go out like I do week in, week out, they prefer festivals. No criticism, good for them, but not a wider view.

So any niggles about pricing are mute, they are not the ones keeping venues open and understanding the economics of providing chilled, perfectly wonderful beverages, in this case in a field in a heatwave. To those present who regularly frequent venues and events, this place are knocking it out of the park, which is no surprise as talking to Anna briefly they are no strangers to festivals, so they choose to do what they need to do and everything they can to be fair.

Itโ€™s actually very easy to pay somewhat more for the same or similar in high street locations.

We enjoyed beer, cider, cocktails all served well, with a smile from great staff.

The offer was local across beers and ciders, the cup on a deposit first purchase, there was happy hours throughout the day.. so if like us you take in all the hard work on setup, signage, art etc.

Then you might have the sense to engage with that structure and buy a beer before the next band are on for instance, during happy hourโ€ฆ! Literally canโ€™t fault them, on what is among the most common things people talk or moan about with any event.. please donโ€™t change a thing I will hope itโ€™s the same when I next come to a festival.

Food โ€“ sufficient offer to keep us fed, some food and catering breakfast in our van but we certainly enjoyed the amazing catering plenty too over the three days, again sensible offers of excellent quality food. Snacks and dinner for us of the kind you enjoy at a festival, mega tasty, and again hats off to black tented catering heroes, as if a kitchen wasnโ€™t hot enough at any given moment.. you worked miracles in a heatwave.

There had been some small changes, talking to those who had been last year, well-considered changes or developments had happened this year reflective of issues across the UK owing to climate and sometimes lack of common sense, so for those concerned about fire and accidents witnessed elsewhere, there were checks politely and supportively to ensure space between pitches, safe cooking for campers, more provision of fire buckets and water .. simple but thoughtful common sense that was well received.

So thereโ€™s the site and team and environment covered? We liked it, we enjoyed staying with The Baa, we are definitely interested in the folk and blues events next year and happy to share our experience enthusiastically to the music community.

So to the bands..!

There are too many to many to mention individually.. so some special mentions from my take, in no particular order.

Jon Amor Trio-

The gateway band to investigating this event was for me, I am a committed superfan I will admit, but a chance to see them in a different setting was well rewarded, a classic set from them but with room to boogie, classic Amor material, and Trio songs mixed.

But the tent jumping to crowd pleasing anthems such as Juggernaut, as many had not experienced the band before, and thatโ€™s a big part of what a festival should be about, finding new music..?

James Oliver Band-

Rocking the blues as always, Norman Watt Roy on bass a rare treat for me.. with James irreverent banter as always making their set a joy. His band and him play so incredibly well, its bemusing to see him latch on to willing audience members as a comedian might.. all part of an โ€˜old skoolโ€™ raconteur style that is part of the experience alongside the excellent band and the ludicrously wide-ranging material he plays so well.

Pete Robson-

A one-man delight, real roots talent. Songs well sung and the wonderful sound of steel guitar exploited to make this a treat, the kind of focused traditional narrative and sound that makes you sit up and pay attention. A new name for me, but one I shall remember and seek out if I can.

Vince Lee and Sophie Lord-

 True to my impressions.. when investigating the lineup ahead of getting tickets, I saw a press pic, and with the whole image tight and the amazing looking (50โ€™s original in stunning original condition I later discovered) double bass, I looked no further. So, hearing them for the first time on the day, I was delighted to find the respectful and beautifully accomplished sound was reflective of my thoughts that they would not look so very much the part and play such stunning instruments of they were not the embodiment of that kind of foot stomping blues. Came away with the CD, again definitely happy to travel to see them again, composed, well-chosen songs, and superb musicianship.

Grizzly and the Grasshoppers โ€“

Iโ€™ve seen Grizzly many times solo, we are blessed he plays our nearest venue The Southgate Inn, but I had never enjoyed a band show. I expected it would be faster, louder but every bit the driven and fun show you get if heโ€™s on his own.

I was in for a treat, it was not so much faster for the most part, but layered and complimentary, fun in a different way, I struggle to describe adequately.. perhaps informed by his own enjoyment of playing with a band at a festival during the sunny summer season rather in his element, which is slightly different to playing a pub solo? It was a raucous riot including him adding himself as a second drummer several times! Absolutely perfect fit festival band.

DSB-

New to me and Iโ€™ve no idea why..?! Local to venue, played all over but I had not the pleasure.

Amazing band whether playing their own stuff or absolutely smashing some Hendrix for a happy audience demanding an encore mid-afternoon.. thereโ€™s a theme here but a band I will be looking out for, and bending the ear of promotor friends about.

Ian Siegal Band โ€“

Iโ€™ve seen this amazing bluesman before many times, with different bands, solo.. guesting with Jon Amor.. always an uncompromising performer.

Ian has written and recorded with an array of artists the world over and it shows, a confidence.. a sort of self-assured ego, almost in knowing his many awards, as a result of well-travelled career meaning he can deliver his own songs and some of the hardest hitting blues from the likes of his favourites Muddy Waters , and Howling Wolf at will. Playing his own Revelator, or back door man by Wolf.. you are transfixed with his immersive delivery that demands your attention. As always, an absolute delight. As was the way he deals with anyone whose own conversations at the front distracting him or those more immersed such as myself, in his own well-known style he makes his displeasure at loud ill-considered audience members known so we can all get on with his performance, another trick learned of a bluesmanโ€™s journey well lived I guess?!

North Drive-

A more bluegrass offering here, the sound befitting the hats and stomping feet, a great sound with southern bluegrass flavour, storytelling and folk song.. another new name not too distant from the area who were exactly as described and really good.

The Duskers-

Iโ€™ve known The Duskers some little while, another name I am fortunate enough to thank my local for, as they come up to us regularly in the year. In trying to spread the word about this excellent band, I always open with โ€˜do you like the Byrds?โ€™ This group of wonderful musicians and wonderful humans I am pleased to know, they have an enveloping sound, and for me at least (sorry Tim but I know you will understand?!) Melinda on pedal steel guitar is the piece de resistance.

The haunting and yet enchanting sounds of this instrument played so well adds a layer to the bandโ€™s sound that takes all the other superb musicianship to a distinctive next level for your ears.

As you may have gathered, I love them anyway, but truly thatโ€™s the best analogy I can summon, if you like the Byrds version of blues/country then you would love everything they do. Great to see them with room to reach out and stretch their legs physically as well as musically as they normally look a little crammed into our local!

The Cinelli brothers-

We have been advised by many including many of my favourite artists, which I am fortunate enough to call friends that I would love and should see this band, it was actually a part of the drive to try a festival after such a gap.

They did not disappoint! I was around whilst the soundcheck was going on, and observed a high level of detail and attention from the band, which often means they will rip through a set, they want everything spot on so they give there all.. which is what they did!

An amazing band, they certainly know how to hold a crowd…this was a superbly fitting close out band, a high note of a current blues scene, a first time for many of us, and a winning vote for me to end the weekend on.

Iโ€™ve not covered everyone, I didnโ€™t catch everyone, we had a lot of sociable time with friends new and old, some of the musicians again those new to me and those dear to me for many yearsโ€ฆ just a really great level of it being achievable, no multiple stages miles apart, no trudge forever for the campsite, the bog etc.. all close by allowing you to relax, and feel like you have not missed anything, which is something I always suffered from in huge scale events such as Glastonbury despite that too bringing lots of music to my life. That was over twenty years ago, and this was so different.

Just as when I worked loading and hospitality for our sadly long-gone Saddleback festival, the chance to meet and chat to people, among them some of the heavy hitters in the soundtrack to my life, to learn something of the journeys of musicians or other music fans like myself is an incredible experience.

Some of these bands are totally new to my ears, and local enough thatโ€™s surprising, which does show that sometimes you donโ€™t have to look too far for new fantastic bands to see the rest of the year?

Iโ€™ve come back and spreading the word a little in the hopes some of these musicians may play venues we frequent week in week out.

I think the only observation, and I say observation as itโ€™s not a criticism, is if I look at last yearโ€™s bill, there are many familiar names who have now played two years. They are excellent, I know some of them extremely well ..but from a festival perspective keeping the bill refreshed each year, is I think really important.

In my efforts to help advertise a blues festival in my own town, I found I was regularly rebuffed as after the first two years (all different and some incredible timing meaning we had up and coming and very established names mixed into the lineupโ€ฆ) the booking changed and too much was recycled for a second or third year, and people who arenโ€™t out every week like me simply told me โ€˜itโ€™s the same bands as last yearโ€™ for me, I keenly await the announcements and hopefully some new names and well caught headliners will entice a return visit for me and the other half next year.

This a reflection or opinion the increasingly fickle nature of a society who for too long have viewed and experienced music as free. Itโ€™s the biggest thing I feel butted up against when doing every small thing I can to encourage people to get involved with live music.

There are certainly a good many local bands that would be an amazing fit for the Baa in our regular gig itinerary, who knows maybe some of them will feature in future years and we will see some more of the amazing south Wiltshire and Hampshire talent showcased at the Hootenanny in our venues keeping live music live ready for the summers fun? Overall, an amazing, and enjoyable weekend, I did make sure I caught Anna from the team but to all of you, what a cracking job. Thank you from a very happy couple in Devizes.

Editor’s Note: Next up at The Music Baa near Salisbury is dedicated to reggae, Flock Steady Bleats from 21st to 23rd August: Find out more HERE.

Oh The Deep; Sarah Tarryโ€™s EP Launch at The Cellar Bar, Devizes

Spent Friday evening at The Cellar Bar in Devizes, doing what Devizine should be about; discovering talented people new to us and near to us. Sarah Tarry has been off the music scene for the best part of twelve years, raising a family I gathered by the gig. Being Devizine has only been around for nearly ten might explain why we’d yet to have touched base. But her EP launch gig told me all I needed to know, and I’m glad we now haveโ€ฆ.

Though the music was exceptionally accomplished with a full setup of cajon percussion, acoustic guitar, double bass, fiddle and piano, this revival was an intimate gig, with what appeared to be a majority of friends and family, and without any of the live music aficionados I usually rub shoulders with gigging in Devizes. Now I’ve heard Sarah and her band I’m of the opinion that should change; hence why I’m writing this!ย 

Through the choice of the sprinkling of covers Sarah and her band delivered with precision and their own stamp, youโ€™ll be able to interpret the mood and style. Vance Joy’s Riptide, perhaps being the questionable wildcard, the others were aptly selected. Such is the EP, Oh The Deep, released on Friday. While it opens with an upbeat indie riff praise, Florence and the Machine on fire fashion, He is on the Throne is the exception. The remaining three tracks take the downtempo ambient mood. 

For Sarah’s natural euphoria, U2’s Still Haven’t Found What I’m Looking For was breathtaking, like Where Can I Go from the EP. Where Can I Go sounds more akin to Morcheeba, and in this soulful element brings subtle gospel into the making of the themes; something U2 would use to their advantage.

Ropes is the absolute peak of the EP, it encompasses all Sarahโ€™s influences in a wonderful package, the folk, the ambience edge, and likened to the start of the second half, when they covered Pure Shores; William Orbit elevating girl band, All Saints. This suggested Sarahโ€™s interest in nu-cool ambience, even if this quartet on the night were strictly analogue. 

But the most aligned cover was undoubtedly a sublime version of Joni Mitchell’s Both Sides Now, for Sarah knows how to weave an emotive mood and poignant sentiment with timeless folk goodness. This reflects the title track of the EP, a gorgeous, melodious salvation to Christ, with booming theatrical drums to enforce the notion. Thereโ€™s a slight return of joyous euphoria on the EP too, an epilogue which was presented at the gig as a fuller song. 

With affections for cloud formations and CS Lewis’s Narnia, Sarah presented songs influenced by them and her Christian roots, but this aforesaid mood and sentiment came to its summit through original odes to her children, who were present at the gig.

Passionately describing her inner thoughts, through and after birth, was so utterly beautiful, though her young son could only subtly blush and giggle, her husband was driven to tears with the recollections evoked. That’s the power of music, and Sarah possesses that certain something, that when a subject relates to the listener it touches them, and on such a commonly occurring topic, Sarah could evoke any parent’s oxytocin levels to maximum.

If, in rock music fandom, thereโ€™s a misconception where a person needs that rawness verging on the absence of belief in the existence of God, you might take Sarahโ€™s inspiration and the religious connotations with a pinch of salt. Even if I might question it too, I would respond with the notion, you are therefore missing out. This was a wonderful gig, to launch an EP which might yet change your viewpoint. Itโ€™s rich and embellished in goodness and adroit compositions, which chill and inspire; take a listen, see for yourself!

Trowbridge (Folk) Festival โ€“ Greenhill Fields, Southwick, 24th to 26th July 2026

By Andy Fawthrop

Folk Me! – Another Great Local Music Festival

You donโ€™t necessarily need a long pedigree to stage a successful music festival, but it certainly helps.ย  Started way back in 1970, and now in its 55th year, Trowbridge Festival is definitely coming of age, leaving its long, long heritage as The Village Pump Folk Festival trailing in its stellar wake.ย  This was the fourth year at its latest site in Southwick, and things are starting to settle back in again, attracting an increasingly large number of folks who want to buy a weekend ticket and camp in a field for three days of fabulous live music.ย  This year was as near to a sell-out week-end as makes no difference….

Full disclosure โ€“ I was part of the Site Team that helped to build the arena (and knock it down again later), so I might be said to have something of a vested interest.ย  I might also even have sneaked in an Open Mic appearance on one of the stages on Sunday. However, I had absolutely zero influence over the programming of the event, nor any over the truly excellent quality of the many fine artists who appeared this year. So what follows is my honest appreciation of what I saw and heard over the weekend (aided and abetted by fellow Devizine roving reporter Ian Diddams).

Apart all the usual random stuff going on all over the arena (yoga, tai-chi, impromptu music sessions, Morris dancers, stilt-walkers, SAT Co comedy troupe, demonstrations, book launches, photo booths), just like any other festival I suppose, there were three stages of scheduled entertainment to choose from and (thanks to some thoughtful programming) a nice overlap between time-slots, allowing folks to wander around and taste most of the wide variety of talent on show. The arena is not so large or crowded that you couldnโ€™t get across from one venue to another fairly quickly, yet just far enough apart to ensure that thereโ€™s no sound leakage between the stages.

And, oh my, the entertainment on offer was simply stunning, both in terms of quality and quantity, to say nothing of the huge diversity of styles.  We had original traditional folk, folk rock, roots, indie, comedy, punk, Irish, swing, bossa nova, big band jazz, dance & ceilidh, euro-romantic/ bohemian, singer/ songwriter, together with the traditional categories of the slightly bonkers, and the totally deluded.  There were over sixty acts, across three stages, and nary a covers band or a tribute act anywhere to be seen.  Whilst the latter certainly have their place in the festival scene, and there are those who really love them, this festival was absolutely not the place for that type of offering.  Here it was all about original music, and whilst there was certainly a smattering of older, traditional folk tunes perhaps re-worked and re-interpreted for the modern era, that was very much in the minority.  Long gone are the days of old men, with their fingers stuck in their ears, singing (ahem) unaccomplished. This weekend it was almost entirely new stuff- fresh, original, lively and an absolute bloody pleasure to listen to.

The selection available to the punters, very much aided by a comprehensive programme booklet, and by a helpful Clashfinder online (thank-you Kieran!), was:

The Pump Stage, at the top of the field, curated and marshalled by our old friend Kieran Moore, promoter, producer, rescuer of venues and general all-round good egg. This year his appearance was completed by his sporting of a wizardโ€™s cloak โ€“ say no more! The eclectic array of acts included Water Thieves (excellent skiffle & folk trio), Andy Skellam & Anna Kissell (a little bit serious and too dour for me), our very own Vince Bell (local Devizes hero who, of course, delivered his usual excellent set), Concrete Prairie (best act on this stage on Friday), Ravetank (OK), Antoine & Owena (old folkie friends of mine and who were polished, amusing and really excellent), Woodkern (OK), Terry Sheppard (OK) and Merv Grist (veteran excellent comic poetry and stories).ย 

Plus several more acts who I didnโ€™t get to see personally (M/X, Fly Fly Triceratops (who Iโ€™m assured were a teenage indie outfit who were highly energetic and very, very LOUD), Butane Skies (a female-fronted band with a token male drummer delivering fun alt-rock, previously reviewed here by Darren in 2025), Bellyful, Kurt Alexander, Neverlove, Sunshine Frisbee, Brutalligators, Mexican Dave, a ceilidh with Juniper, Bob Gallie, Luke De-Sciscio & The Real Boys, Rob Quo, Toodles & The Hectic Pity, and the ever-hilarious Scott Doonican).  Also headlining Friday night was none other than Salisbury upstarts, now turned globe trotting (and recently signed to one of the biggest and best talent agencies UTA) indie punkers Carsick.  And the only reason I didnโ€™t get to see all these wonderful people was not because I was lying in a field, blissed out on cider, but because I was too busy watching some great acts on the other stages. So much music, so little time!

The Bar Stage in the middle of the arena, pretending to be simply the Festivalโ€™s (Kettlesmith) Bar, run by Matt Cook and Simon Taylor of The Pump Acoustic Club, and featuring a varied mixture of artists. These included: Jennifer Crook (meh), The Cleverly Brothers (legendary comedy artists featuring Tim Webb of Spill The Whiskey, and local comic poet Merv Grist), Sid Bloomfield (another excellent veteran comedy performer), Xaphania (young, local, very impressive), Jane Langley (older, but lively and a bright performance), Seren Alyssa (young & upcoming, and recently seen at The Pump Acoustic Club and in The Fold in Devizes), and the Trowbridge Ukulele Strummers (donโ€™t get me started on where strumming a ukulele can lead you!).

Again, there were several acts that I simply didnโ€™t have the time to catch, including The Frukes, The Anglo-American Almost Allstars, John Coventry, Jโ€™s Tonic and the Silver Street Band.

And finally there was The Main Stage at the bottom end of the arena, offering the largest space to stand or dance, or else sit inside or outside the marquee, and featuring some twenty national and international figures.ย  These were, I suppose, the bigger hitters of the festival. They included Chris Difford (ex-Squeeze) whose classic songs were willingly taken up (to his very obvious delight) by a packed audience, and whose stories of fellow โ€œpop starsโ€ of the 1980s and 1990s were simply hilarious, including the seemingly large number of other artists whoโ€™d managed over the years to keep Squeeze from the No. 1 spot in the charts. And the various โ€œw**kersโ€ who he thought would never amount to much, but who ended up playing Wembley six months later, whilst Squeeze were still playing at the back-street pub in Peckhamโ€ฆpriceless!

There was the incomparable John Otway Band who delivered the usual hilarious and manic set, yet completely different to his recent appearance at Long Street Blues Club with Wild Willy Barratt.  There was Martin Simpson whose impeccable delivery on vocals and guitar, woven with music stories was fascinating  There was The Rob Lear Band (our friends from over the Welsh border, having recently played The Piggy Bank in Calne, and several events over the years in Devizes). Apart from a sudden mishap with Terryโ€™s guitar at start of their tea-time slot, they were an absolute triumph, and the new songs (squirreled away onto a sneak preview EP CD) were a total delight.

Did I mention the three great bands closing the stage on the three nights? The Welsh band Rusty Shackle, who were an excellent Friday night band for dancing, 3 Daft Monkeys headline finishers on Saturday night with their loud, brash, and tight arrangements, and Merry Hell the superb Festival closers on Sunday with high energy, high comedy and great choruses.

But there were plenty of other bands too: Spill The Whiskey (one of this yearโ€™s ceilidhs), Harbottle & Jonas (really excellent), Luke James Williams (OK, bit samey), Liam Vincent & The Odd Foxes (best on main stage on Friday night), Banter (with loads of traditional/ classic songs but fabulously re-arranged), Gabrial Moreno & The Quivering Poets (Saturday starters, superb, interesting, poetic, definitely one of my โ€œundiscoveredโ€ picks of the festival), Bluebeard & The Desperate Hours, (featuring our old friend ย Phil Cooper on bass), Michell, Pfeiffer & Kulesh (three nationalities, singing modern songs), Chris White & Julie Matthews (modern folk royalty, joined on stage with a surprise performance by the wonderful Miranda Sykes), The Terry Hall Big Band (superb jazz/ swing from the 1940s โ€“ a real toe-tapping starter on Sunday morning), The Magpies ย (OK, but a little lacklustre), and Juniper (a superb lively band for a Sunday tea-time).

In addition to all this there was plenty of stuff to have a go at yourself.  Music, after all, is about participation (except in my own case of course). Apart from an extended Open Mic session each day, there were singing and ukulele workshops, two ceilidhs, and silent discos every night in the bar for the campers who didnโ€™t want to go to sleep just yet.

For children and younger adults there was an extensive programme of daily activities and entertainment, ranging from face-painting, to story sessions, roaming entertainers, circus skills, stilt walkers, a slapstick show and workshops for ukuleles and hula hoops.  This wasnโ€™t just an afterthought (weโ€™d better do something for the kiddy-winks), but rather a fully integrated part of the festival. It was so good to see whole families enjoying themselves for the whole weekend. It sure helped to make this a multi-generational thing, and added to the friendly, safe atmosphere.

Add to this a good choice of pop-up food vendors, coffee etc, craft stalls of all types, Lycra Man (IYKYK), a visiting milk man for the camp site, and a breakfast bar, and you have yourself a pretty good set-up.  There was no possible way of getting bored for more than a few minutes.

The sensible, friendly stewarding and security teams, with plenty of space for camping and parking, made this simply amazing bloody value for such a good festival and for so much entertainment. It was so good to see the festival supporting lots of local vendors and businesses, as well as encouraging plenty of local young up-and-coming performers.

This is and was a huge volunteer effort, back-boned by some hard professional services (power, water, security, marquees, sound and lighting, staging etc), and therefore retained a very warm and friendly atmosphere. The stewards and marshals were super-lovely and helpful, nobody behaved like a twat, and the atmosphere was therefore laid-back, relaxed and welcoming.

Chatting to Festival Director Nick Reed at the end of the festival, he pronounced himself absolutely delighted with this yearโ€™s festival.  Numbers were up, the music had been great, and the positive feedback had been overwhelming.  โ€œClearly, weโ€™re very happy.  Weโ€™ve still to do the final number-crunching, but the financials look positive. Keeping it small and laid-back has been the right formula and, as weโ€™ve now built the festival to this point, we have both the physical space and the financial confidence to look at some gradual, but gentle, expansion over the next couple of years. We donโ€™t want to lose the vibe and the atmosphere that weโ€™ve slowly built up.  So the future looks very positive.โ€  Absolutely great news to hear that, especially in recent times where many live events and festivals have suffered lower ticket sales and/ or cancellation.

Like I said โ€“ Iโ€™m probably a teensy bit biased โ€“ but I have to say that this is now an extremely good local music festival.  Itโ€™s extremely well organised and well curated. Thereโ€™s truly something for everyone, itโ€™s good value for money, and itโ€™s also properly local. If you unfortunately managed to miss it this year, Iโ€™d highly recommend that you make a space in your diary for next year, allocate your festival budget accordingly, and buy the early-bird tickets as soon as theyโ€™re announced. This, truly, is how to run a music festival.

Links for Trowbridge Festival:

www.facebook.com/TrowbridgeFestival

www.trowbridgefestival.co.uk

Links for The Village Pump:

www.facebook.com/thepumptrowbridge

thepumptrowbridge.co.uk 4

Links for The Pump Acoustic Club:

www.facebook.com/profile.php?id=61575730922941

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Donovan or Donoless, Fulltone Festival is a Cake Tray!

Images by Gail Foster

Regretfully I must report that due to a personal issue Jason Donovan is unable to sing at Devizes’ Fulltone Festival this afternoon. But all in attendance yesterday will be aware, if Jason was a cherry on the cake, Fulltone is not one big cake. Fulltone is an industrial sized tray of cherry bakewells and each individual cake has its own cherryโ€ฆ..

Saturday at Fulltone ’26

If a tray of bakewells required one chief cherry, it would be the fellow with the most familiar parietal lobe in Devizes, Anthony Brown, conductor of the FullTone Orchestra, delicately or furiously waving his baton around for hours, as the mood of the music requires! Or it could also be his wife, Jemma, who miraculously finds time off from promoting and marketing this grand show to sing at it too. But a tray of bakewells does not have a chief cherry, each individual cherried cake must be credited and praised for what is one of the most magnificent shows this side of Barnard’s Star.ย 

Saturday at Fulltone ’26

There’s one violinist who reminds me of Chris Kamara, but unfamiliar with all the names of this seventy-piece orchestra, each and everyone of them are cherries! And their combined efforts is what makes Fulltone so tasty. To them, and every volunteer, well done and thank you, for, from start to finish, Saturday was totally and unequivocally magical. 

Saturday at Fulltone ’26

Social media posting expected today, or thoughtless clickbait headlines, casting opinions on Fulltone whether or not they attended! The move to Park Farm I suspect will be under scrutiny, particularly by those who once makeshift their own free party by pitching up by the exterior fence. Transport issues with the times of the shuttle bus might rightfully be criticised, and for an event dedicated to its town, its regularity might need evaluating for future years; teething troubles. But with the campsite option, the Fulltone Festival 26 is more accessible to a wider audience, and folk from afar communally rubbed shoulders with dedicated Devizons for a series of showstoppers back-to-back, heralding a new chapter for Fulltone.

Saturday at Fulltone ’26

Social media can be toxic, Park Farm is where you must be to assess this. And should you require an example, let’s take the grand finale of Saturday night. That iconic stage, like a giant sky-reaching gothic church window, barely shaded partygoers from the heatwave, as Two-Tone tribute Mostly Madness did what it said on their tin. With emphasis on the trombone player rather than the singer, it was an incredibly lively show of second gen ska, and went down a treat. Then the orchestra came out, glittered up, with a rendition of Fatboy Slim’s Right Here, Right Now, but rather than the repetitive sample which mightโ€™ve been acceptable in the nineties, a young guy, conveniently called Guy I believe, interpreted a rap over it; and it was sublime.

Saturday at Fulltone ’26

The stage was set for a number of club classics, each with a different singer, as Devizes-own smiley BBC legend James Threlfall prepared his decks for a “large” mix continuing the club classic theme. What was earlier a stage wonderfully reciting the classical themes of John Williamsโ€™ Star Wars was now a pumping house festival, where the exhausted orchestra took a hydration break. But this was not the grand finale, only near to it in timings.

Saturday at Fulltone ’26

Now the orchestra came back out. James remained on the decks providing the beat, the orchestra played the melodies over it, Rozella came out too, glittering, and they did a few more vocal club classics, using Guy to rap Snapโ€™s Rhythm is a Dancer. Then, a singer from the orchestra backed her with her most memorable hit Everybodyโ€™s Free. This was my personal favourite thing ever to happen at a FullTone Festival, as sparks of the fondest memories flooded my neurons, aided by a Muck & Dunder Bajan rum punch, and we danced like there was no tomorrow, even though there was and FullTone continues today!

Saturday at Fulltone ’26

For an Uncle Albert perspective, back in the day, โ€œwhen I was in the rave,โ€ house, jungle, techno and all other subgenres were virtually the same shebang, or at least their roots were bundled together. The only divide was songs for cheesy clubbers, aching for the commercialisation of rave culture, and those for the โ€œhardcoreโ€ free party people illegally raving in some field or other. Then there were those songs which transcended that boundary, that appeased whatever side of the fence you sat on, and in 1991, Rozellaโ€™s uplifting piano-breaking anthem was โ€œthe one.โ€

Saturday at Fulltone ’26

But, looking at the faces of those dancing to it last night, my personal significance mattered not a stitch, as for many 1991 is a page in a history book. Still, I couldnโ€™t have imagined this โ€œthrowaway musicโ€ would ever become classed as โ€œclassics,โ€ as they relished every second of it as much as me, and the few other matured ravers!

Saturday at Fulltone ’26

For those younger, 1991 was not a live music era, it was governed by DJ culture. I didn’t know (much care) what Rozalla looked like, but as she sang on that stage, she looked and performed as beautifully as I could’ve ever imagined. In some vague similarity, The Wurzels seemingly did too!

Saturday at Fulltone ’26

Imagine, if you will, the most unlikely break between sections of the Proms, but, as we’re West Country, the glove fitted with danceable jollity. Professionally accomplished, where age didn’t seem to come into it, and I am a Cider Drinker encouraged a bra to be thrown in their general direction, the Wurzels were expectantly brilliant!

Saturday at Fulltone ’26

The Kaiser Chief’s Ruby Ruby perhaps not as apt as other pop hits they’ve covered, and the encore Combined Harvester had the techno remix backing, which would’ve been acceptable in 1992, but I take into consideration their ages and if it had to be the last song, they were likely completely knackered by the end of it. They put in the shift, with hilarious banter and skilled scrumpy & western, as those bumpkin legends were the making of it. 

Saturday at Fulltone ’26

There were parts I regret I missed, such as the orchestra playing a Queen set; it sounded smashing though, as I rushed carefully back across the dual carriageway, assuming the last thing folk want to see driving home is a milkman as roadkill. Too conveniently located to home, I nipped back for my dinner and a spray of Lynx!

But, John Williams, the whole Star Wars catalogue, made me remember why we were there, for the grandness of this orchestra, for the experience of this conglomerative of excellence, for the acoustics of ye gods running through you, and for the institution the FullTone Festival has become; and Iโ€™m not even a cherry bakewell kinda guy, Iโ€™m more brownie!!

Strange Days Indeed, at The Barge on HoneyStreet

Earthlings and all other organic lifeforms with a taste for the occult, fortean and generalย  weirdness are heading to The Barge at HoneyStreet the first weekend of September for the return of Strange Days Festival. You risk spontaneous combustion if you donโ€™t tooโ€ฆ.

If you felt an alien autopsy, some alpine shape-shifters or the neohermetic order of Kyballic philosophy were unfortunately missing from your usual festival haunts, this might just be for you and your spirit guide.ย ย ย 

A wildly Wyrd weekend specially crafted for fans of forteana and unexplained phenomena, Strange Days covers the entire weekend with weirdness, esteemed speakers, cosmic cabaret, and some mindblowing music. As of last year, the most powerful tractorbeam musically arrives from intergalactic visitors Henge, with their jazzy psychedelic space-rock rave everyone wants to be abducted by.

Star of the hidden camera prank show Trigger Happy TV, the man with the giant phone Dom Jolly also headlines, and thereโ€™s an array of speakers, and other bands, including Calneโ€™s own masters of comedic metal, the chelonaphobic Real Cheesemakers, who might/might not play from inside the belly of a sperm whale.

Indie experimentalists Quatermass III are also playing, known for blending glam-tinged experimentalism, “folk-horror” themes, and electronic textures. And Novum Wo, an experimental electronic artist blending distorted glitch, IDM, and sample-based sounds with Medieval, Arthurian, and contemporary industrial aesthetics.

Thereโ€™s the unmistakable band Dogshow, on a voyage to explore how music can be experienced differently, by traversing genre-fluid astral planes whilst dressed as poodles. The Quantum Mechanicsโ€™ paranormal podcasters go live, Bob Fischer and Stephen Brotherstone resurrect all your disturbed childhood TV memories simultaneously, while Jonathan Downes goes on the trail of Mexican Vampires, and past president of the British UFO Research Association Lionel Fanthorpe talks about close encounters.

Iโ€™d like to say Iโ€™m only dipping my little toe into the dark waters of Strange Days, as thereโ€™s so much more to discover, but the minds of the followers of the event might meander onto the argument itโ€™s a vestigial structure, leftover from our tree-dwelling ancestors, while podiatrists interject, maintaining the little toe is still functional and significantly aids in balance and weight-bearing, and weโ€™ll have a battle of medical curiosities on our multi-fingered, prehensile organs.

Strange Days is on the weekend of the 4th-6th September, when the nights draw in, and we get closer to the spirit world. Itโ€™s at the Barge at HoneyStreet so itโ€™d be rude not to camp, which is included in the ticket. Tickets are a 130 of your Earth coins, with discounted rates for kids. From HERE and beyondโ€ฆโ€ฆ

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Mantonfest Magic Multiplies

Mantonfest, the longstanding gem on Marlborough’s event calendar, finalised for another fantastic year last night, with metal-driven mayhem, as the sounds of AC/DC ripped across Treacle Brollyโ€ฆ.

Tribute act AC/DC UK had a challenge, to top Dan Budd, who unleashed a burning effigy of everything Robbie Williams used to be and thoroughly entertained in manner and style so akin to who he was attributing, he might as well be Robbie Williams. Debatably they did, it’s a highway to hell of a show, using eighties amps and tech, the schoolboy uniform costumes and feisty skill to breathe authenticity into it, like coal fuelling a fire.

I’m not heavy metal’s biggest fanboy, but view them in light of what’s popular, or at least was, in Marlborough; and via this pov, they rocked the show. Though, I’m impartial to Robbie Williams too, being a product of the nineties boyband fad I raved underground throughout, and by his peak in the noughties I washed out! No, I was most looking forward to the Duran Duran Experience, that’s my era.

That’s my time when I couldn’t go to gigs, but idolised pop stars, making me the ideal candidate for a Duran Duran tribute; you had to like Duran Duran if you wanted to snog girls at school discos, fact! Hailing from the Midlands with fifteen years under their belts, Duran Duran Experience were great. They delighted my retrospection for songs I anticipated and excited my reminiscences for some I’d forgotten, and until today, that was my formula for a perfect tribute act.

But if the Duran Duran Experience were plodding, didn’t engage the audience on the same level as Dan Budd, then I need to rethink said formula. Robbie Williams may not be my bag, though it was the best tribute there by far, heading towards one of my all time bests. His band were incredibly tight, his engagement tiptop, the banter and the delivery were all on par with the cheeky yet lovable bravado of the real McCoy; he even looked like him and hails from Stoke-on-Trent, just like Robbie, so even the regional accent was genuine.

I don’t make a habit of suggesting a tribute was โ€˜like the real thing,โ€™ though it’s a common assessment vocally in a crowd. In fact, I believe I’ve never said such cringe, but in this case, it truly was. Dan was Robbie with the full kit; impersonation, performance and persona.

Dan even made me contemplate there was something I missed about the talent of Robbie Williams, casting him off as manufactured โ€˜pop mushโ€™ at the time, and perhaps the ability to change the minds of those who didn’t care much for the attributed’s work beforehand is a mega bonus ball to the perfect tribute act. For the standard wide age demographic of Mantonfest, gen z, millennials, all danced in awe alongside gen x, who were still recovering from the Duran Duran Experience!

Tributes aside, despite being the finale of Mantonfest’s โ€˜if it’s not brokenโ€™ formula, I unfortunately couldn’t make the festival from its off. I missed Barrelhouse, Humdinger, Jamie Williams and others, though safe in the knowledge of their refined abilities. I arrived in time to catch Emelia Houchin finishing her sublime set with You’ve Got The Love on an additional stage set adjacent to the main stage, which provided continuous music while acts on the main stage tuned. I’ve seenย Emelia Houchin as part of the St John’s school showcase at Mantonfest some years ago; she was ambitiously striving then, but now she’s confidently brilliant.

The second stage idea was the only thing different about Mantonfest, as I said, if it’s not brokenโ€ฆ. Mantonfest is such a lovely, communal festival, perfectly scaled and reflects the certain charm of Marlborough as a town, only under a sea of gazebos. The other highlight of the second stage I bore witness to was Hangfire; one Marlborough resident, the remaining matured gents from Highworth, covering a selection of sixties to eighties classics with such passion and proficiency it would be impossible to find fault with them.

But the second stage isn’t the be-all-and-end-all to the meaning behind the term multiplication in my headline. The tried and tested winning formula of Mantonfest expands into Devizes as in the incarnation of little sister festival Park Farm for its second year on Saturday 18th July.

The lineup there uses acts loved at Mantonfest, with a finely selected Devizes ingredient added, The Jon Amor Trio. That’s the reasoning I must cast to Devizes residents; yes, Park Farm is the newbie on the block, but is fuelled by the experience of 25+ years of Mantonfest, and Mantonfest again this year, reinforced my conviction that they’ve the ability and motivation to present an outstanding mini festival with a big, passionate and highly entertaining heart.

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Brian on FullTone Festival

Our regular historian and Visiting Research Fellow of The Regional History Centre, UWE Bristol, Brian Edwards takes some time to sketch the FullTone Orchestra aheadโ€ฆ

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Using Fulltone as a Proper Noun

To most, โ€œfullโ€ and โ€œtoneโ€ are two separate words, but around here it’s been a portmanteau and a proper noun since 2019, conveying a unique musical experience where orchestral meets pop, thanks to The Fulltone Orchestraโ€ฆ.

Yeah, they may play elaborate concerts around the South West from Exeter Cathedral and Bath Abbey to Londonโ€™s Cadogan Hall and Birmingham Symphony Hall, but it is here, in Devizes where they proper job zip up their boots and return to their roots for a festival like no other.

To put it in dictionary form, it might look something like this AI invention:

Fulltone / หˆfสŠlหŒtoสŠn /proper noun

1- The Fulltone Orchestra: A large, independent British symphony orchestra based in the South West of England. Founded in 2017 by musical director Anthony Brown, the ensemble consists of roughly 50 to 65 musicians and is celebrated for performing diverse, cross-genre arrangementsโ€”ranging from classical masterpieces and movie scores to rock, Motown, and electronic dance music.

2- The Fulltone Music Festival: A prominent annual multi-day outdoor music festival organized by the orchestra in Devizes, Wiltshire. The event showcases the orchestra alongside headline artists and guest vocalists performing large-scale symphonic concerts across a single weekend.

Origin: Formed in Devizes, Wiltshire, as a compound of full (complete, maximum) and tone (a sound of distinct pitch and quality), reflecting the expansive and powerful sound of a complete live orchestra.

Example usage: โ€œWe are buying weekend camping passes to Fulltone at Park Farm this summer.โ€

Editorโ€™s additional note: โ€œfor the love of Jason Donovan, make sure you do!โ€ 

If you know me and my grammar, youโ€™ll have come to the correct assumption Iโ€™m not one for dictionaries anyway! Iโ€™m no scholar in the classics either. I just know what I like, and through all the bobsy-die and Tempest in a teapot online skullduggery, the bottom line is, I promise you from past experience: when you get into that dome-shaped stage, almost iconic now in Devizes, and allow the sublime acoustics of a full orchestra to flow through you, it is magnificent.

And you’re not going to find anything like it hanging around Sidmouth Street waiting for your chicken sandwich to be cooked, or staying in watching a show hosted by Ant and Dec.

Fulltone Festival 2023 – Day One Image: Gail Foster

โ€œWeโ€™re bringing Jason Donovan to a field in Potterne,โ€ organiser Jemma Brown told me. โ€œWhy would you not get behind that and see what two local people are trying to achieve?!โ€

Jason, Wurzels. Rozella, and all other gubbing or not, are only added bonuses. I was of the generation to reject pop crime manufacturers Stock Aitken Waterman, being honest, and Jason was used as a pawn, a male equivalent of Kylie, and I can’t give you the key to my combined harvester, because I haven’t got one, have I? But hey ho, a shuttle bus pulls in at the Pelican, even I have to admit, Jason Donovan coming to Devizes IS a BIG deal.

The Wurzels may be too far east for their liking, and quipped about Devizes in a song, but aren’t they the only band who made a greater success with a parody song than the original?! And I wouldnโ€™t mind if I do; time is healer, and thereโ€™s too many broken hearts in the world, anyway. Jason was right, dammit!!

Donโ€™t be that subject; communal love to be found at FullTone, but only if you’re there, looking gorgeous! Iโ€™m not out to repeat myself, weโ€™ve done a preview for this extravaganza already.  I can lead a horse to water, but  Iโ€™m not prophesying that I can make it drink. But I think youโ€™d be seriously missing out if you donโ€™t buy a ticket, and one for your other half, maybe one for Auntie Doris too, to this one, at a new venue, with new horizons. Put her in the deckchair, let her rave.

The biggest mistake you could make is that Fulltone is a massive commercial enterprise, and that youโ€™re going to be ripped off by a professional consortium, stuffing your dollar in their ears and laughing at you. โ€œThe reality of it is,โ€ Jemma explained, โ€œwe are a husband and wife team running an independent orchestra and event, with no financial backing other than ticket sales – which is a massive risk for anyone to take.โ€

Slap me down and call me Madge Bishop if it ain’t true. Jemma’s been all over that book of face again, interrupting your constant stream of political propaganda, overkilling the advertising. Sโ€™ only cos she gets jittery, worrying no one is going to show their face. Everyone who organises any event gets this. Please believe me, it’s perfectly natural.

Don’t we all get a bit Nelson Muntz, and on our high horses when we mount that poisonous social media platform?! Just a tad?! I’m a bloody nightmare, right?! Just ignore me, I do.

Fulltone Festival 2023 Day Two Image: Gail Foster

Bottom line; it’s not about any singular person, not even Jason, or The Wurzels, risking their safety crossing the county border. It’s about the show, and how it MUST go on. It’s about showcasing all those talented artists, all those musicians, singers, all of them, invited to bravely take to the stage.

We could walk up the canal, remembering the Boto-X, and its sad demise. Wander into town; first met the wife at that pub, now derelict. And who remembers the arcade where you hid away school lunch hours? Shame it’s gone, like the pie shop, Woolworths, Street Festival, the comfy sofa at The Four Seasons. Yeah, Fulltone has become a proper noun here, but let’s not allow it to be only used in past tenseโ€ฆ..

Get a ticket here, enjoy yourself, and know we’ll be back together, together, because I really want to show you my heart is oh so true, and that all the love I have is, especially for you…..and everyone else going to Fulltone!

Devizes’ Sammi Evans Features on Innereyefull Dub

If I was pleased to hear the vocals of Devizes singer-songwriter Sammi Evans would feature on a single, I was even more delighted when I asked Sammi if it was an electronic dance track, and she replied โ€œitโ€™s reggae!โ€ Well now, this is really pushing my buttonsโ€ฆ..

West London producer Andy Kent founded Innereyefull in 2005. Fusing breakbeat with jazz-funk and dub, the solo project then signed to Dusted Wax Kingdom three years later. By 2014 he started his own label, Inner-I Records, to self-release his music.

A prolific artist who received airplay on The Craig Charles Funk & Soul Show, took his debut album Playground on tour with a collective of musicians. This though, Andy says heโ€™s โ€œexcitedโ€ about, and he โ€œcan’t wait for you all to hear the new single, which means a lot to me,โ€ explaining because itโ€™s the first Innereyefull music in six years.

Sammi is a Devizes-based singer-songwriter, often seen gigging locally accompanying Matchbox Mutiny, and attending open mics. She released her debut solo single in January.

The Thinking Tree is a rootsy, rolling heavyweight dub, and I must say, fits Sammiโ€™s wistful and evocative chanting vocals perfectly. Thereโ€™s the rockers one-drop to it, reflecting dub classics of Prince Jammy. Yet with contemporary echoing phrasing elements, subtler on the vocals than traditionally used at Tubbyโ€™s dub origins, reminding me more of Zion Trainโ€™s nineties outpourings, appeasing the alt-reggae crusty scene.ย 

In theme too it blends, The Thinking Tree being a metaphoric place of solitude and reflection, itโ€™s mellow, plodding and uplifting; all the right ingredients flow. With Robert Livseyโ€™s  percussion, guitarist James McMahon and mastered by Doc Paul Colin Moody, Sammi corrects my vocal accompaniment, telling me itโ€™s a 50-50 collaboration with more in the pipeline. The single is from a forthcoming album, Return of The Inner Eye, due in 2027.

If this tune is solid, and up my street pounding on my front door, Iโ€™m over the moon at the prospect of Sammi becoming a vocalist for this rebirth, because Iโ€™m hoping sheโ€™ll encourage some local live shows, and as much as I love our local music scene, it needs more reggaeโ€ฆ.much more reggae, in my honest opinion! 

As it happens, this new Innereyefull band plays the Trowbridge Festival this month and is supporting Dub Catalyst at The Pump in October. But for now, try this taster for size, out now on Bandcamp. On streaming platforms from 30th June.

โ€œBullshot Crummondโ€ at the Rondo Theatre, Larkhall, Bath June 17thย โ€“ 20th 2026

by Ian Diddams
images by Ian Diddams & Lisa Hounsome

A few weeks ago I scribbled a preview of this production โ€“ Bullshot Crummond. I extolled its virtues of daftness, craziness, car chases, sword fights, stage punches, raised eyebrows, lingerie, and deadly tarantulas. Not forgetting the high dangerous converse forcefield!

Read that preview for further descriptions of this manic show โ€“ Iโ€™m not like Abba, I donโ€™t repeat my previous work in a new album article. But I will mention the phenomenal work undertaken by the stage crew in ensuring the often quite substantial and complex scene changes were slick and not lengthy, allied to perfect performances by the actors who often opened the scene in reduced, spot lighting while the set change was being completed in darkened areas elsewhere on stage. This area alone was a joy and treat to behold โ€“ if one could tear oneโ€™s eyes from the fast paced, joke-a-minute action on stage.

Matt Nation plays the gung-ho, patriarchal overly confident Bullshot Crummond splendidly, with his perfectly executed raised right eyebrow while his arch enemy, villain Otto von Brunno is quite brilliantly delivered by master of the quick change Iorwerth Mitchell.

Otto’s wife, sidekick and evil femme fatale Lenya is deliciously portrayed by Natalia Weicฦถorek, with Josie May-Ross displaying a fine selection of lingerie [ Ed. Itโ€™s NOT that kind of show!] as wonderful wupper-cwust heroine Miss Wosemary Fenton.

Her boffin Deddy, Professor Rupert Fenton fills the part of slightly crazed looking scientist (somewhere between Frankenstein and Doc Brown!) delivered with panache by Tim Carter.

That leaves a plethora of ensemble and cameo roles filled by some of the principals but also the hilarious James Vallance as Algy Longwort, Crummondsโ€™ less than intelligent friend

and a bored waiter, alleged one armed police inspector and German hitman seamlessly performed by Jack Sandbach.

Hugh Darwin almost steals the show as the quite superb Marovitch, a henchman – never has a man ever been made for the role so perfectly; Hugh also provides a country police officer.

All that remains is to mention the narrator and bombshell Chloe Harris as a Cabaret style MC teasing her way though the action and the men in the audience.

The back stage crew already praised consisted of Penny โ€œHandstandโ€ Clegg and Sarah Larmour Shearn, while tech as ever was a slickly delivered by Alex Latham with the phenomenal Moray MacDonald on sound and original music. This crew delivered a stunning array of on and off-stage special, lighting and sound effects. Donโ€™t blink โ€“ because you will miss something if not several things at once!

Unsurpringly the set is down to the usual genius of Rich Canning and his team while Chrissy Fryers and Charlotte Howard are responsible for the delightful costumes.

And of course maybe last, but always first, the stunning vision and planning and sleepless nights of director Charlotte Howard, ably assisted by the multi talented producer, Toby Slelton.

Is this the โ€œbestโ€ written play ever? No. Is it the deepest and most soul affecting show? No. Is it a show you will laugh at constantly, wish to see again and yearn to never end? Most definitely โ€“ if I hadnโ€™t already a full diary this week, Iโ€™d come every night if I could.

This may be a light hearted, silly romp but make no mistake… behind all the laughs and silliness are hours and hours of planning, preparation, and presentation; physical challenges and endless practice – and a doff of a hat here also to choreographer and stage combat director Alexander Meadow… chapeau! The comedic timing, the stage craft, the scene changes, all require hours of practise to appear seamless. And this cast and crew have excelled in their bid to make this all appear effortless, an excellent achievement by a team on the top of their game.

“Bullshot Crummond” is sheer escapism at its finest, in the same vein as โ€˜Allo โ€˜Allo with its gentle racial generalisations and parodies building a stupid story of derring-do, innate and misguided heroism, and above allโ€ฆ being ridiculously and stupidly….BRITISH!

“Bullshot Crummond” is performed at the Rondo Theatre, Larkhall, Bath from June 17th-20th at7.30pm. Tickets are available from ticketsource. Proceeds from this show will go to support “Man Down” a local men’s mental health charity and for that reason alone this show deserves your patronage.

Do go and see it. Then go again and take your friends. Resistance is futile!

Nothing Seems as Sweet as the Start; NRWO as Devizes Arts Festival’s Finale

All Images: ยฉGail Foster

If last Saturday’s Celtic punk band quipped if the Devizes Corn Exchange was a bingo hall, and Milton Jones jested โ€œit’s great to be here, in the past,โ€ it took a band with roots to the town to introduce Devizes Arts Festival to a next generation, and, predictably, Nothing Rhymes with Orange smashed it, with zestโ€ฆ.

It’s been a fantastic year for Devizes Arts Festival, their 40th anniversary, though it continues to attract a majority of older residents. It’s understandable, with the Devizes age demographic and the cost of living crisis particularly affecting our youngest. Not for the want of trying, chief organiser Vince told me of a โ€œBattle of the Bandsโ€ of yore, which has the blueprint of a young Kieran Mooreโ€™s past input, but the vicious circle comes down to economics; a certain style of event not selling has the potential to financially ruin the festival, and has to go. Wanton to attract a younger generation being the reason why the price to this particular event was reduced; it worked.

Highlighting the diversity of their program is something I’ve preached for the years we’ve extensively covered it, and upon receiving a whisper they’d booked Nothing Rhymes With Orange at the end of last year’s festivities, I kept schtum, but secretly I excitedly prayed this might be key to crashing the invisible boundaries of the festival’s age demographic. Not blowing my own trumpet, but I was right!

Prayers answered by Bristol’s Nothing Rhymes with Orange, as our oldest and youngest gathered; the latter only slightly outnumbering, but both tolerant and respectful of the other. The most age-diverse Arts Festival event I’ve witnessed was one of the happiest, and deffo, liveliest! And also, one element to the gig’s success.

Nothing Rhymes With Orange @ The Corn Exchange

The other, of course, was the band formed at Devizes School, quickly became the local Gen Z phenomenon I’d refer to as โ€œBeatlemania in Devizes,โ€ and departed to Bristol Uni. If that usually spells an end to school bands, Nothing Rhymes with Orange made the adjustment together, and I will continue to vow this tightness and comradeship is the secret to their success, as, through their dedicated motivation and raw talent, they went on to replicate the local phenomenon into a national one.

Last night, they returned to their roots, and though they collectively confessed it felt โ€œstrangeโ€ to be back, to me, many of their original homemade fanbase waited in anticipation for those early singles, which they can sing back to the band; thatโ€™s as vital to Gen Z as recording it all on TikTok!

It was an obligatory pressure for Elio, Fin, Sam and Lui, who wish to retire their earliest songs in favour of progressive newer ones, and they announced this would be the last time they would play them. Fittingly here in Devizes, but not without subtle apprehension from the band; understandable. I get this; if I had to replicate my teenage creative output in my twenties Iโ€™d have cringed.

Never say never, I expressed, for nostalgia builds through aging. While the early songs were welcomed by the younger crowds, what was most impressive for all in attendance, was surely the new ones.

Nothing Rhymes With Orange @ The Corn Exchange

If the indie punk pop genre has come of age, and thrashing out three-minute rages is clichรฉ, Nothing Rhymes with Orange are at the pinnacle to a progressive evolution of the sound, with matured experimentation akin to prog rock. And therein lies their contemporary universal magic.

Through superior technical ability, mood-setting bridges and intros, and paced melodies, while still maintaining the professionalism, tightness and adroitness they showed from the start, their new songs have so much more body and strength. They are a pleasure to hear, and appeased the entire crowd rather than those here to sing back the early works.

The merger was a shrewd move, beginning with the classics and moving onto newer ones, with a finale of Manipulation, one of their earliest crowd-pleasers. They may not have played them for a while, and itโ€™s not like riding a bike, but now theyโ€™ve ticked that box of reunification with their original fanbase off, and can put those old tunes to bed, itโ€™s time to move on.

Last night proved Nothing Rhymes with Orange are at the top of their game, as they switched old with new seamlessly, and strived to become the universal name we locally knew they could from the very beginning.

Their synergy reverberated, as it ever did, but with a newfound level of proficiency and competence, leaving those who knew them before in awe. With one eye I scanned them as those kids singing to a handful of teenagers in West Lavington village hall, but with the other, as if we were watching The Pretenders or the Stranglers on stage. It was as plot twisting and refreshing as Luke Skywalker returning as a Jedi!

Supported by a brilliant Cheltenham five-piece called Underscore, all guitars, drums, overspilling and confident originals, made for an amazing gig, and a particularly different Devizes Arts Festival event.

Underscore @ The Corn Exchange, Devizes

Nothing Rhymes with Orange couldโ€™ve just come out and nonchalantly played Brotherhood of Man covers and Iโ€™d still have been happy to see them all again! But, they didnโ€™t, I mean they wouldnโ€™t, would they?! They knocked it out of the Corn Exchange.

A journalist once told me, you write on a subject, publish and move on. That’s why I’m not a journalist, as I hug the frontman’s mum and tell her I’m proud, and can’t imagine how she must feel.ย 

Nothing Rhymes With Orange was never just a subject for me, it was a model, of everything Devizine means to me personally, to summarise a journey of a local youth band, and now, through sheer dedication and motivation, to see them never taking a step backwards, only forwards, to a world stage, fills me with great respect for them, hope and delight.

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Manning Lifeboats, In Devizes!

Manning the lifeboats with Devizes Arts Festival in landlocked Devizes last night, and I didnโ€™t even get a sticker. I did shake a tailfeather out of my system, more importantly. For if all-originals London-based Celtic folk-punker five-piece Man the Lifeboats seemed to have no visible relevance to their marine namesake, they certainly knew how to rock a boatโ€ฆ.

A few people asked me for the relevance in the name, as if I would know, or remember to inquire! Two years ago, when Jolly Roger played, there was piratey-themed cosplay and shanties, but Man The Lifeboatsโ€™ subjects were self-confessed to be more about death, apocalypse, certain brands of beer, and pubs they like. There was also a fair shout of anti-fascism and left-wing political suggestion, which, given the direction the country seems to be heading, may connote the metaphoric desertion of a sinking ship. Bravely or at least unperturbed, bellowing said righteousness from the lookout tower of the Corn Exchangeโ€™s high stage, to a scattering of matured Devizes Arts Festival attendees was their risk I savoured; fairplay!ย 

However, if they took it in jest at the beginning, asking if they were at the right event, and if this was a bingo hall, as this dynamic banjo, fiddle, piano accordion complete collective got the ball rolling, their shock of the gig mustโ€™ve transformed to pleasant surprise. Man the Lifeboats realised not to judge a book by the cover, the reward for an accomplished and lively band at Devizes Arts Festival, will be these matured attendees rising from their seated positions and gyrating to their irresistible beats like middle-age never happened; and many did, because Man the Lifeboats were stompingly outstanding!

And, letโ€™s make no mistake, while this isnโ€™t the sticky-floored cider-fuelled pub backroom or hedonistic crusty festival they might be used to and arguably more aptly fit, supporting Ferocious Dog and the like, Man The Lifeboats absolutely nailed it. They play the Grass Roots Grazin’ festival at Salisburyโ€™s Music Baa later this month, and will undoubtedly receive the same expected acclaim there as they would crossing our southerly wurzel county border, with their scrumpy & western, Boot Hill and 3 Daft Monkeys similarities to Celtic punk, but their reception at Devizes Arts Festival might be a true test of their excellence, and it culminated with a surprise fairytale ending.

At least, thatโ€™s how I believe the band should view it! For them, they should note, Devizes youngsters up for a party flocked to nearby boozer, the Three Crowns, as is the norm, for the free familiarity of covers from Pat and Ben of Matchbox Mutiny, of which I dropped in afterwards, to confirm they were having it.

For us, itโ€™s been a mission to express this wonky stereotype of Devizes Arts Festival being a Saga Holiday at home shouldnโ€™t carry the assumption it is not lively. That Gen Zโ€™s parents and grandparents partied harder, faster and more often than TikTok might convince them otherwise, if it is not otherwise and understandably sadly governed by finance. Devizes Arts Festival has been fantastic this year, as ever, worthy of your coinage, but then I sigh, Iโ€™m not getting any younger myself!ย 

The true test of this will be next Saturday, when Devizes Arts Festival hosts homegrown Gen Z pop-punkers Nothing Rhymes With Orange, and I hope younger residents flock, not only for the sake of reunion, but for the future of Devizes Arts Festival. But, for now, we were locked into the tremendous vibe of Man The Lifeboats, as they did their thing loud and proud. It was professional, but they looked like they were loving it, with a mutual feeling from the crowd; cracking toast, Gromit. Or should I say, WALL-E, whom the frontman compared to Citizen Kane?! Ah, banter was lightly welcomed.

To liken any Celtic punk band to The Pogues might be cliche and a pedestal. Save for their London take rather than Irish, Man the Lifeboats certainly had similarities, their last tune before the interval was decidedly akin to Dirty Old Town, and they were fiery with poignant messages to provide, but in a nice way, delivered in a far more respectable light than the outrageousness of the subgenre’s origins. But, this is common stipulation with any music genre, I’d argue, where it is the aficionados age too, and this is the era we live in. This said, as towards the finale I saw them bashing out skillfully raw, decided I love these guys no less than Flogging Molly, or The Dropkick Murphys, and they were certainly on that level of excellence.

A great night was had, it seemed. If gigs like this at Devizes Arts Festival can provide the townโ€™s resident live music lovers with a taster of such bands, knowingly left wondering for something to do at a grassy outdoor festival with them on the line up, or stuck in London in range of one of the pubs they fondly mentioned, Iโ€™d make a beeline. Yet, it is of importance, being our readership is largely made up of our live music fans, that Devizes Arts Festivalโ€™s higher points directed at music should not be taken with a pinch of salt, that they vet quality acts with variety, including such must-sees as Man The Lifeboats; a perfect example.

And so, it continues, thereโ€™s another week of Devizes Arts Festival to come, which ends on Sunday 14th June with two free fringe events, a poetry and prose open mic at The Black Swan from 4pm, and a unique take on the blues with The Rigmarollers at The Cellar Bar, of the Bear Hotel at 7pm.ย 

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REVIEW โ€“ Devizes Arts Festivalโ€“ Robert Vincent @ Corn Exchange (Friday 5th June 2026)

My Show Of The Festival

Andy Fawthrop

Another headliner from the Devizes Arts Festival hit town last night….

Robert Vincent came to the Corn Exchange, bringing his heady mix of folk, country, blues and Americana. Normally performing acoustic in solo or duo format, this time he had a full band in tow. Heโ€™s an English singer-songwriter hailing from the north-west. Iโ€™ll admit, full disclosure, that Iโ€™d never run into him or his music before, but after last night Iโ€™m really happy to say Iโ€™ve now made the connection.  Although there were a few empty seats at the back, the Corn Exchange was largely full with 200+ people there to cheer him on โ€“ and cheer they did.  I soon realised that there were plenty of folks there whoโ€™d seen him before, so there was plenty of love in the room.

Fronting up with acoustic guitar and harmonica, Robert took us through two excellent one-hour sets, show-casing many songs from his back catalogue, including his last album โ€œBarriersโ€ (and, yes thereโ€™s now a copy of that firmly in my collection), together with plenty of new songs from his forthcoming new album.

Straight from the off I was struck by his voice โ€“ heโ€™s a clear, but emotional singer โ€“ and the harmonies that his band members threw in.  The sound was full, rich and multi-layered with plenty of texture and variety to the songs.  Early on we had some of his Country & Western influences coming through on โ€œThis Townโ€.  The easy changing up and down through the gears, from solo acoustic, through to full-on rocking, from stripped-back to hard and insistent guitar licks, was an absolute pleasure to listen to.

Robert had an easy style, chatting to the audience with humour and self-deprecation, explaining the background to the songs, but never getting tempted to waffle on.  I was particularly struck by such songs as โ€œHurt Today, But Alright Nowโ€, inspired by childhood memories, which he described as โ€œmiserable but hopefulโ€, as well as โ€œLove Never Endingโ€ (a piece of personal therapy) and โ€œEverythingโ€™s Gonna Be Alrightโ€ (calm, unflustered and very laid back).

The band behind him were excellent โ€“ Jim Kimberley on drums, Thomas Bibb on electric guitars (some superb solos), Danny Williams (who flipped effortlessly from upright bass to electric bass) and Anna Corcoran on keyboards, also providing some absolutely stunning backing vocals and haunting harmonies. Individually they were superb, but as a cohesive backing unit for Robertโ€™s wonderful songs, they absolutely nailed it. And these guys were also the core of the band on โ€œBarriersโ€.

The second half continued in the same vein โ€“ lovely clean and unfussy sound, no showing-off, just simple great musicianship.  At times I was hearing Jackson Browne, at times there were shades of Deacon Blue, but it would be a disservice to the band to claim they were in any way just a soundalike to those folks.  This was category-defying stuff.  More superb songs followed โ€“ โ€œTake Away Your Burdenโ€, โ€œKeeper Of My Heartโ€ (an absolute belter in my opinion), โ€œShine A Light In The Darknessโ€ and โ€œSeparating The Fiction From The Factโ€.  Again there were lots of textures, changes of mood and tempo, some chat, some nice segueing from one song straight into the next.  There was light and shade, there was hard and soft.

The vocals were soulful, insistent, yearning.  The musicianship was spot-on. The songs were meaningful, well-constructed and simply wonderful. Itโ€™s been a while since I was this impressed by a band Iโ€™d never even heard before, but I was well won over. I was already on 9/10 by half time, and a no questions 10/10 by the time we got round to the encore.

The sound and lighting by Serenity Audio was absolutely spot on.

Anyways, thereโ€™s still plenty of great stuff to come over the next few days, both ticketed and free.  The Devizes Arts Festival continues until the night of Sunday 14th June at various venues around the town.  Tickets can be booked at Devizes Books or online at www.devizesartsfestival.org.uk

Devizes’ Sammi Evans Features on Innereyefull Dub

If I was pleased to hear the vocals of Devizes singer-songwriter Sammi Evans would feature on a single, I was even more delighted when I asked Sammi if it was an electronic dance track, and she replied โ€œitโ€™s reggae!โ€ Well now, this is really pushing my buttonsโ€ฆ.. West London producer Andy Kent founded Innereyefull inโ€ฆ

Darren Worrow's avatar by Darren Worrow

Looking Back At Devizes Arts Festival 2026

Featured Image: Gail Foster. Features extracts from reviews by Andy Fawthrop, Ian Diddams and Madelaine Blake. Does it ever stop?! The weekend is upon us again. I think I might need to skip this one, not getting any younger, and besides I did enough laughing, dancing and meeting interesting people over the past fortnight, thanksโ€ฆ

Darren Worrow's avatar by Darren Worrow

Phil Beer to Perform at The Pump on Friday 4th December!

โ€œMr Phil Beer needs no introduction to anyone,โ€ says a spokesperson for The Pump in Trowbridge, our grassroots venue kicking up turf on Rolling Stone Magazine last week! Regardless of their mainstream coverage, thankfully The Pump hasnโ€™t forgotten our grassroots media, and let us into their secret, announced only today. One half of the legendaryโ€ฆ

Darren Worrow's avatar by Darren Worrow

Devizes; Full of Scummy Mummies!

Guys out on โ€œthe pullโ€ on Thursday in Devizes were cut short. The Scummy Mummies were back in town, and youโ€™ve never heard so many Prosecco corks popping from the Corn Exchange. It sounded like machine-gun fire in there, aimed directly at testosterone….

Chicks and honeys, as far as the eye could see, and the odd quivering fellow, likely dragged in by their wives; a Devizes Arts Festival sell-out. The Scummy Mummies made their debut here four years ago. Their outrageous family-related routine adapts to follow the personal timelines of their own marriage and motherhood, with teenage parenting and divorce added source material for their latest offering, Hot Mess. But they also reminisced on the thirteen years they’ve been together after meeting on the comedy circuits; it shows.

I meant in professionalism, not physically; I’ll leave the self-body-shaming gags to this dynamic comedy duo. They excel in it, but extrovert their comical bombardments too, onto their kids, partners and the audience, taking no prisoners as they fill the stage with madcap frenzy. At its baseline this show is 60% self-deprecating standup, 40% the ultimate hen party. Thereโ€™s a complete comedy package, brazenly embellishing standup with sketches, Powerpoint presentations, parodied pop songs to suit the narrative, and more costume changes than Sabrina Carpenter gigging in Harvey Nichols.

Iโ€™m here breaking my Scummy Mummies cherry, by default attacking this from a male point of view, but….erm, (collective noun I believe is a gaggle) a gaggle of ladies knew what was coming, were prepped with tipples and charged funny bones. They were out for the funniest ladiesโ€™ night ever, for this is an Ab Fab afterparty, uncut French & Saunders but with a Jo Brand twist, a comedy duo who take Cyndi Lauperโ€™s hit biblically.

From the contents of a laundry basket stratigraphically examined and retested for scale, to a particularly amusing mumโ€™s Mastermind sketch, subjects ranged from โ€œfingeringโ€ to the PTA Whatsapp group, but all done without taste; unless middle-aged women in catsuits simulating sexual positions with their husbands whilst admiring images on slippers is your definition of taste. But any more on that would be a spoiler, if it doesnโ€™t spoil itself.  

As a geezer, youโ€™d be forgiven for assuming this sounds excruciating, and this was certainly my pre-concern too. For if such a format was performed by anyone other than comedy geniuses, Iโ€™d still be of that opinion, but it wasnโ€™t. This duo have the timing of The Greenwich Time Ball, are improv masters, and unless you were a subject on Louis Therouxโ€™s Manosphere, wherever your testosterone balance lies, you cannot escape the simple fact that the Scummy Mummies are absolutely and undeniably hilarious.

They bounce off each other, literally, but also figuratively akin to Ronnies Barker and Corbett. To suggest theyโ€™re competency is on a similar pedestal would be exaggeration, but, dammit, they should be sitting above Michael McIntyre, and thoroughly deserve their own TV show. 

Men are going to be verbally assaulted here, you just know, but only with a feather duster rather than an all-out carpet bombing against patriarchy; in fact the word was only mentioned once. This is not a feminist march, and there is no political campaign with The Scummy Mummies, only astute social observational humour. And the bottom line is, with no bars held, theyโ€™ve perfected it. The menopause medley was sidesplitting, โ€˜Ann Scummersโ€™ delighted, the audience participation was paramount throughout, but precedence held at the finale, the result of the โ€˜confessions,โ€™ was a gem of comic sagacity.ย ย 

Their entire show didnโ€™t come up for air, is written with comedy erudition, and the gag about men in grey boxers had me contemplating if the notion was understandable in their presence, given I nearly wet myself laughing at these two exceptionally funny women!

All hail The Devizes Arts Festival, itโ€™s looking like another successful year. This was a hysterical button to press, seemingly loved by everyone in attendance. But thereโ€™s plenty more to come, all the way until, and including, Sunday 14th June. Youโ€™d be doing yourself a favour to find details HERE and pick up some tickets.

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SoP Live at Swindonโ€™s Castle with St Fian

by Ben Naimor

I have been pestered that I would love St Fian. They have played at my local venue in Devizes before, but I had not managed to catch them, until nowโ€ฆ..

What I had not been warned about, was that this fantastic duo would present me with among the finest female voices Iโ€™ve ever had the pleasure of hearing. Enchanting and emotive vocals, of the kind that have you transfixed; there is no question of whether I will see them again!ย 

This is a band who happily embrace wonderful small-room venues like this, rubbing shoulders as it does on their summer tour listings with some decent size festivals; truly adaptive and passionate artists, and wonderful humans. I was very glad to get a quick chat too, post-gig.

The distinctive voice and musicianship of this duo have a fresh and exciting edge, but built on the solid ground of true folk. I think my favourite original song of a mixed set of originals and covers, a song called Paperboat, an original ode to all lifeโ€™s tribulations, a reminder to live life rather than wish it away. Given we were informed the duo are a nurse and mental health worker, respectively, perhaps this is why singing with poise and compassion about such things comes so readily and enjoyably.

We shouldnโ€™t overlook the confident and relaxed picking of the fine musician on guitar and bouzouki, a cross between a banjo and mandolin. Despite the strange name itโ€™s gentle tones suit Ianโ€™s gentle picking, and seems more than ready for when itโ€™s time for Irish songs or shanty.

Loving the shruti box too, reputedly costing a weekโ€™s pocket money! But again, a true folk instrument that adds a little underlying mystery to the sound, on a couple of songs. 

Iโ€™ve not been inspired to review or delight in word, so much recently, but my heart was opened; thatโ€™s about me, not any of the wonderful music Iโ€™ve enjoyed, but worthy I think of mentioning, is that the moment Steph began to sing, my shoulders relaxed and I felt this was something I had to try and convey and applaud in print. 

The duo are creeping towards an all-original set, and by their own admission enjoy doing some covers, as they fill their original songbook with new material. So, the second set had a few covers in, but you have not seen these covers done so proud before; it takes a joyous confidence and incredible voice to do justice to some songs so familiar to so many. Donโ€™t Think Twice by Dylan , for instance, sung with a lingering harmonious quality that appeared to literally hang on every lyric.

A couple of covers of Stevie Nicks and Fleetwood, it takes a confident singer to carry off Stevie, and to do so that a life long fan like me is enthralled. Another one which would be ambitious for most, Iโ€™ve certainly witnessed some less than adequate attempts over the years was The Cranberriesโ€™ Zombie, with the comment that this will let metal fan Ian rock out! Then, smashes it again, the most incredible thing to do; such choices for powerful and very well known songs, but with this being a duo, an intimacy and powerful delivery of verse that knocks yer socks off.

So, as you might have guessed, I was very impressed; real genuinely wonderful humans, giving us unforgettable moments in local small-room spaces is what our scenes are all about. Thank you as ever to Ed and the Castle, as well as Steph and Ian for a superb gig. 

SoP-Live are Swindon-based music promoters, and run The Thursday Night Music Club at The Castle. Thereโ€™s a whole list of great stuff lined up this year you can check out on socials for Sop Live, and St Fian have the socials too so, we can make sure we catch them down the line.

Thereโ€™s a whole EP and an album in the works; I canโ€™t wait, Iโ€™ve a feeling it will be a popular play in the soundtrack to my life.

Devizes Wharf to Edinburgh; Whose Play, and The Sh!t They Don’t Tell You in Books!

Images: Chris Watkins Media

May seemed so far away back in Feb when we ran a preview of two plays which will see a Devizes acting company debut at the Edinburgh Fringe. Beforehand, they’re staged at their base, the Wharf Theatre. I’ve had a sneaky peak already, you can tooโ€ฆ.

Acting coach Lou Cox, director of The Wharf Acting Company, wrote and devised both shows. Whose Play is it Anyway is showing at the Wharf Theatre on Friday 29th and Saturday 30th May, before heading north, but the second, Having a Baby and the Sh!t They Donโ€™t Tell You in Books is only on Saturday.

Firstly, and undoubtedly the easier to summarise is the interactive comedy Whose Play is it Anyway? Name-spin upon improv show Who’s Line is it Anyway, but more a general parody of low-budget TV quiz shows of the seventies, thirteen actors of the group perform eighteen scenes from various plays and it’s up to audience to call out which decade, genre or play it is, according to the question set by the grandstanding host, Barry Ruffles.

With no fourth wall Ruffles, played with diligence by Gavin Rand, tempts the audience to be the quiz show crowd with offers of carrot-on-a-stick prizes. But the utmost comic element is his impertinent relationship with his superficially glitzy assistant, Jenny Flannel, played with such absolute perfection and improv timing by Danielle Cosh, youโ€™d think you regretfully picked her up in a Wetherspoons in Romford.

A unique angle, yet the greatness of this show is in the contradiction between the sombreness of the scenes against the comical game show concept, and in turn, the scenes make for an interesting display of the diversity of theatre throughout the ages. For the theatrophile it might act as a boastful test to their knowledge, but for someone less culturally aware it has the potential to be a fun clipshow sampler. Being the latter, there were several encapsulating scenes which made me think, you know what, Iโ€™d like to see that play in full?

Itโ€™s originally quirky, bottom line, ideal for the Edinburgh Fringe but also with a degree of universal appeal. What was most fascinating, and also a testament to the skills of the actors, similarly to its namesake Whose Line, thereโ€™s a genuine improv component in the order the scenes are played out. Governed by a deliberately tawdry bingo ball machine, the order is genuinely random, even if youโ€™d be forgiven for assuming it was fabricated. โ€œIt keeps us on our toes,โ€ one actor, Matt Dauncey jested, โ€œand makes the show different each time.โ€

The others, as follows, Laura Deacon, Dion Smith, Karen Payne, Brigid Maude, Laura Bartle, Rhiannon Fitzgerald, Isla North, Jamie Whatley, Jenni Prescott and Lisa Smith all need to be highly commended too, for the immense amount of preparation undertaken to develop this, and their readiness to randomly jump into any of the various characters and styles of play. The team also fondly remembered member Andy Bendell, who recently passed away. This was fun and intriguingly original in equal measure, and (in joke) more a waste of Haribo than a waste of your time!

Only similar for contrasting comedy against tragedy, Having a Baby and the Sh!t They Donโ€™t Tell You in Books I was treated to next. Lou has performed this one-woman show before at The Wharf and elsewhere; Helen Robertson reviewed it for us, causing me to want to see it myself.

Committed to taking a โ€œmanlyโ€ perspective to one with their knickers at their ankles chatting about their vagina, which is usually blushing and smirking like Finbar Saunders, I found equal heartfelt emotion and gulp in this unbridled masterwork.

Iโ€™m reminded of a podcast interview with Adrian Edmondson, hardly recognising his voice, a voice I should know only too well. He was crying over thoughts of the passing of his comedy partner Rik Mayall, and I reasoned, because Iโ€™d never heard Adrian cry, only ever laugh. What happens to the funny person when the funny runs out?

I marvel at writers like John Sullivan, with his knack of creating loveable character relationships, like Del-boy and Rodney, who can switch the comedy narrative to the most sombre and touching moments. But if this takes genius, itโ€™s a whole other ballgame to take a monologue twisting comedy from tragedy to the stage, when it comes from the heart of personal experience. What begins as part stand up routine, part PowerPoint presentation, ends with the most unfeigned emotional piece of theatre youโ€™re likely to witness.

Lou runs off a frank and quite brilliant stand-up routine akin to a most alternative, brutally honest and graphic guide to pregnancy, and while keen to state each case is different from any other and many women like to talk about their experiences, she describes the stark revelations of mental and physical changes due to her own maternity, with comical precision. This self-observational comedy would be plentiful for a trip to Live at the Apollo, and whilst this is impossible to summarise without spoilers, the conclusion to her story is not bathed in the glory of childbirth, nor amusing anecdotes of post-natal activities.

Until this point, you ride it with Lou, especially parents with a story to tell themselves. But, due to lack of oxygen during a traumatic birth, Louโ€™s daughter Hattie was left severely brain damaged, and only managed five days. Lou reflects on her tragedy honourably but with understandable criticisms to faults made and how they were dealt with, abruptly halting the jokes, and twisting the direction to finalise with a tearful poignant message so powerful youโ€™re at loss for a suitable expression to account for such grief.

I asked Lou if this was her way of dealing with it. โ€œFor my show itโ€™s certainly cathartic,โ€ she replied, โ€œbut more importantly Iโ€™ve been able to raise so much money previously under Hattieโ€™s name. Also having had to be silent during the legal case I feel I can finally tell my story in the hope that I can raise awareness and promote change in maternity services.โ€

You can donate to Hattieโ€™s Fund here, but sympathy, try as you might, the show is a glimmering reality horror not calling for it. Only commanding you to walk in those shoes for a moment, causing it to be breathtakingly brilliant, but hard to review, words will fail you, dammit. Easier to present to it a deserved award; itโ€™s something you have to see for yourself.ย 

Which you can do, HERE, before they see it in Edinburgh. Of which we wish them all the best for, and being clips of multiple plays, suggest they break more than one leg!

Whose Play is it Anyway (18+)
Having a Baby and the Sh!t They Don’t Tell You in Books (18+)

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Sheer Music Announce Devizes Gig Frank Turner Bootleg Cassette

Itโ€™s 2006, and the charts are awash with what will become known as landfill indie. Somewhere in backwater Townsville UK, an already road worn veteran is making their furtive steps into a solo career that, unbeknown to them, will have a major and lasting impact on the UK music sceneโ€ฆ..ย ย 

Frank Turner is already famous for searing live performances that have put his band right in the front and centre of UK alternative music. Now he has to do it all again. Armed with only a guitar, many opinions and a reading list that would make your local library wince, he struck out, willing to perform anywhere that would have him.

Documented here is the genuine sound of a guy learning his craft. Nights like these are found across the UK every night of the week. Immortalized in lyrics that would appear later in his career, his โ€œbedrooms, bars and bunker squatsโ€ work ethic took him to unknown towns, like Devizes.

Devizes had a rich history in live music when it was primarily known as a military / squaddie town. Live performances from Status Quo, Ginger Baker’s Airforce, Curved Air (twice), Yes (twice), Van der Graaf Generator, Thin Lizzy, Fleetwood Mac, King Crimson, Rory Gallagher, Mott the Hoople, all in 1971 alone. But it wasnโ€™t until 2004 that its life was breathed back into its history, when Foals, LostAlone, Frank Turner, The Struts, The Computers, and more began performing here. Putting the town firmly back on the touring circuit.

This cassette documents, warts and all, the chaotic approach to small back room bar live shows. The rawness of the songs, the rowdiness of the audience. Included in the earnest set list are two covers. One from his peer Chris TT and a Sun Kil Moon cover too. Both showcase Frankโ€™s knowledge and passion for underground music. 

Frank recounts, โ€œremembering details of one show out of more than 3000, two decades on, is a challenge. Those early days were a blur of cigarettes, trains, whisky, sleeping on floors, panic and drive. My craft has evolved slowly over the years, so flipping back to an early document of a show can be a shocking thing in some ways; so much has changed. But enough has stayed the same. Kieran helped me out with shows in the early days and  remains a friend now. Somehow, shows like this led me to where I am now, and I wouldn’t change a thing.โ€

This release will only be available on cassette, direct from Sheer Music, or at 3 carefully selected independent record shops, Banquet Records in Kingston, Sound Knowledge in Marlborough and Mars Tapes in Manchester. The eight track cassette itself is a 2 tone olive and dusty pink affair, and clocks in at just over 30 minutes.

The artwork apes the style of 70s and 80s bootleg cassette releases. A down to earth, hand made/drawn approach, with an image that was lifted from a photograph of one of the Devizes gigs! The whole release is a charming, straight forward no frills release. The music does the talking, and we know it elevated an honest, hardworking musician to stadium heights. For more information, please visit the Sheer Music website, HERE.

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Nothing Orange; Arts Festival Brings Home Devizes Phenomenon

Four years ago I witnessed a Gen Z phenomenon in Devizes. With a certain indie punk zest and intelligent songwriting, Devizes School band Nothing Rhymes With Orange built a local following I once compared to Beatlemania. Staging their own gigs and recording original songs, they harnessed appeal from a dedicated fanbase. By the summer of the following year I suggested to DOCA they should host them at the Devizes International Street Festival, and advised residents young and old, to come support this blossoming sensation; and they listenedโ€ฆ..

It will forever remain one of my most fondest memories as editor of Devizine; looking out from the stage across a sea of people stretching the entire Market Place and queuing down the Little Brittox. I announced them, it felt like the right thing to do after banging on so much about how good they were! And they absolutely rocked it, opening a wider age demographic to their brilliance, if still local. But Nothing Rhymes with Orange didnโ€™t stop there.

They would play our pub venues, from the Southgate to the Three Crowns, and they would even fit into FullTone, but they cast a net further, as other venues and festivals of other local areas headhunted them. The vibe was spreading, from Bradford-on-Avonโ€™s Roots Festival to Marlborough’s Lamb and The Barge on HoneyStreet, the lads fast becoming Devizes musical export of the century.

The only time I ever questioned their united successful future was at the end of their sixth form tunnel, when so many school bands demobilise to pursue separate universities, careers, or family obligations. It was 2024, they did a farewell gig at the Exchange in Devizes, and I set up an interview with them. It was more Chow for Now than breakup, as frontman Elijah Easton, guitarist Fin Anderson-Farquhar, drummer Lui Venables, and bassist Sam Briggs all planned to study music at Bristol uni, and even reside together; result!

For the interview I drew up some quirky questions, as usually a band of this age didnโ€™t take themselves overly serious, but what was revealed was evidently the most dedicated band with the most earnest sense of direction Iโ€™ve ever chatted with. It is this motivation to their development which drives the phenomenon to their international success. Nothing Rhymes with Orange have matured their sound, harnessed a style, but the audience response is equal to the Gen Z parties of home, just on a massive and international scale.

Bookings this year stretch from Exeter to a Brighton tour, onto Leeds, North Shields and  Sheffield. The CURCUS Festival in Dorset, Godney Gathering, Somerset, and back to their new residence with some of Bristolโ€™s biggest festivals. You can find our lads at Taunton, Plymouth, Rotherham, Leicestershire, Warwickshire, and Londonโ€™s premier venue The Dublin Castle. The end of July sees them in Gibraltar, and each and every date makes me proudly think, yeah, theyโ€™ve cracked this!

But for their original Devizes fans, there is one important gig on their list, for if itโ€™s one thing to see Springsteen play, itโ€™s another to see Springsteen in New Jersey. Devizes Arts Festival has brought many big names to town, over their forty years, some became bigger afterwards, others already A-list. This year is likely the first time they bring an act BACK to Devizes, as Saturday June the 13th sees Nothing Rhymes with Orange playing The Corn Exchange. The lads returning is going to be big, perhaps as big as the sacks of washing for their mums!!

Image: Kiesha Films

The Devizes Arts Festival put out, what I considered a slightly wonky perception of this in a social media post. Stating their generation didnโ€™t like paying for gigs, Iโ€™d argue it was more through financial reasoning than anything cultural. Besides, Gen Z have grown now, some with jobs, or at least with better parent persuasion techniques! While worth every penny, Devizes Arts Festival events come with a price, in order to stage them and cover the many free fringe events their program offers.

To attract a target audience rare for the Festival, tickets have been kept to a minimum, weighing in at just ยฃ12.94. I sincerely hope this works, because it is not just Gen Z this event should attract here in Devizes. In my honest opinion, the red carpet should be rolled out for these lads, whoโ€™ve put Devizes back on the musical map of England, since the success of The Hoax in the nineties. For the record, I recall standing by a younger Elijah, watching Jon Amor at his Southgate residency with a respectful eye.

The lads of Nothing Rhymes with Orange deserve to be shown a Devizes welcoming home party like no other, by all of this townโ€™s live music aficionados of all ages, not only for their international success, but for motivating a new generation here to pick up guitars and drums and start their own adventures. So, if your kid begs you for some money for a ticket, get one for them, and get one for yourself too!!

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Pride Where Pride is Needed

Pride month finds me wondering if Pride events are actually needed more in our smaller market towns where awareness and acceptance is perhaps lesser thanโ€ฆ

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REVIEW โ€“ Vince Bell @ The White Bear, Devizes โ€“ Sunday 26th April 2026

Local Hero Plays Home-town gig shock!

by Andy Fawthrop

After the cracking weather we had all week-end, what better way to round things off than with the best of all home-town gigs with one of our local heroes Vince Bell?ย  So, suitably attired in t-shirt, sun-hat and sunglasses, off we toddled to one of our favourite watering holes, The White Bear, for a much-needed dose of great original songs.ย  Good beer and good music are all that anybody needs.ย  Obviously other choices were available, notably up the road at The Southgate, but for us it was a very easy choice. ย Vince is, without doubt, one of our local heroes, and it had been a few months since weโ€™d last had the chance to hear him.….

Vinceโ€™s first-half set was full of his fine self-penned songs, the lyrics coming across clear and loud, accompanied by some fine guitar work. I sometimes make the mistake of slightly under-rating his great work on the strings, but not at all yesterday. He was on absolutely superb form, carefully explaining and introducing each song, but never dwelling for too long, allowing the material to speak for itself.ย  The subject matter was downbeat and extremely personal, each song striking home and eliciting warm and enthusiastic appreciation from the gathering audience.

Pub gigs can sometimes be a bit weird, with some folks inclined to compete with the singer by trying to talk over the top, and spoiling it for everyone else whoโ€™s there and actually wants to listen.ย  Not so yesterday โ€“ the conversations gradually died down and, at times, you could almost hear a pin drop.ย  Great to hear an artist as good as Vince being shown some well-deserved respect. And before we knew it 45 minutes had slipped by and it was time for a top-up pint.

Chatting to Vince at half-time revealed that there were personal reasons why Vinceโ€™s mood and demeanour seemed a little low with his particular choice of songs, which I wonโ€™t go into by discussing here.  But suffice to say that the Monty Python lyric โ€œLife’s a piece of shit, when you look at itโ€ was not an entirely inappropriate way of summarising certain feelings.  He promised us a slightly more upbeat second spasm, and so it proved to be.

Joined for most of the second set by his friend Chrissy Chapman (of Burn The Midnight Oil fame), there was some lighter material, mostly penned by her. They worked well together, both in guitar playing and in harmonising their vocals.  We were also offered a couple of covers, including (I suppose inevitably) The Stonesโ€™ โ€œPaint It Blackโ€, which brought a wry smile to many faces. But, yet again, another 45 minutes disappeared in no time. And then we were treated to the much demanded encore of one of Vinceโ€™s signature songs โ€œSpiderman Pyjamasโ€, and the gig was suitably wrapped.

Just time for another quick pint, a short chat, then a walk home in the still-glorious sunshine. I did get the chance before leaving to tell Vince that I genuinely thought that it had been one of his best-ever gigs.  There were a lot of friends in the room, and lots of love, but I do hope that such a fine performance helped to win over a few new fans to Vinceโ€™s corner. Heโ€™s a local hero โ€“ he deserves it!

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Live Music in Devizes, Anyone? Meg & Seren at The Fold

Friday afternoon at The Lamb, tucked away behind the Town Hall in our market town, with my aim to introduce two aspiring local singer-songwriters who haven’t played in Devizes before, and present them at The Fold, a venue once renowned and hopeful to recreate its former reputation. I was anxious about the prospect. Their magnificent soundchecks filled me with confidence, though their wonderful talents were never the questionable element to this ventureโ€ฆ..

From Chippenham, Megan Hoy, or M3G to the local music scene, is a breathtakingly unique singer-songwriter. At nineteen she has built the kind of reputation, in both live performances and recorded, which welcomes her to the South Westโ€™s best venues and festivals. Her music and autism blend to become one, and exhausts something so personal you take a little of her emotions away with you; a skill usually reserved for only rare, professional acoustic performers decades down their journey.

If M3Gโ€™s outpourings are translucent windows into the souls of contemporary youth emotions, anxieties, cogitations and reservations, and those on the spectrum, she unites with her Warminster match. Seren, the same age as Meg, bypassed my vetting process of only booking acts Iโ€™ve already seen live, based on Meg and otherโ€™s recommendations, and the videos she posts on social media. They were plentiful to confirm Seren had something special, still her performance came as a pleasant surprise compared to my readymade affections for Megโ€™s music, based upon the numerous times Iโ€™ve witnessed her magic.

If both define it as indie-folk, either fits nicely for a support set to an indie band, and allows scope for such bookings such as at The Pump, where they are welcomed by young punters awaiting a punky band. Yet I see it still as timeless folk, that rawness and unrivalled valour to open yourself up to an audience, stripped back instrumentally, just you and guitar, alone in the spotlight; that is courageous. And both Seren and Meg wowed. Just as folk was here, at The Fold, even before Kieran cut his teeth with Sheer Music within these very walls, it was again with a new generation. Everything about this gig fitted, in my opinion.

And it was a wonderful evening. As the sun fell to the moonlight through the high windows of the Fold, Seren opened with her original songs, sublimely. Though shy to talk, Seren commands an audience and holds them spellbound through her honest, ingenious songwriting and her talent to deliver them with soothing, evocative vocals.

A short break and Megโ€™s is complementary to Serenโ€™s set, matching with similar appeal but not rivalling; theyโ€™ve gigged together before and thereโ€™s a genuine mutual respect. This sweeping package of excellence was tied and united by a third set, where they joined forces, and this really was something to behold. Each complimenting each other’s original songs and perfectly balancing their vocal arrangements for some covers. 

Obviously this review is an encomium, as it was my doing! Still, I wouldnโ€™t say it so if it wasnโ€™t, Iโ€™d bury my head in the sand, pretend it never happened! If you question my honesty, read on. Iโ€™m left bewildered and somewhat frustrated, because those who witnessed this astounding gig were few, few enough for it to cause an issue and serious doubt about hosting more in Devizes.

Reintroduce The Fold they said, a gathering of support on social media welcomed it, but unfortunately, not in realityโ€ฆ yet. I heard the opening night with the fantastic Bluebeard was also poorly attended. Letโ€™s be honest with ourselves, I thank everyone who came, but poor attendance leaves me dubious as to why. Varied illogical reasons spring to mind, which could be debated until the cows come home. Maybe itโ€™s teething issues at The Fold, or the market is already flooded? There could’ve been any number of reasons, but it certainly wasn’t the quality of the music, nor was it the price when we state you โ€œpay what you can.โ€

Friday night isnโ€™t a Saturday, lots of folk work Saturday mornings, I could tell myself. Booze ainโ€™t cheap anywhere these days, but another event, ticketed with a hefty price-tag, sold out, understandably reducing footfall. Perhaps though, not through the want of trying, The Lamb has yet to regain the popularity it once held. It is a great watering hole, as it ever was, Iโ€™d be horrified should it go the same spiralling downward route of so many others.

Thatโ€™s our motivation behind putting gigs on at The Fold, relaunching this venue, for the sake of original live music and the upkeep of the pub. Easy to yodel โ€œsupport live music,โ€ or โ€œsupport your pubsโ€ on your Facebook page, it might be another to attend, but that is only where it will impact.

Here were two young aspiring artists, singing their hearts out beautifully, and producing something unlike anything else you will currently witness here in this traditional market town. Yet, a majority would rather ignore, to either stay at home kissing Netflix, or attend a tribute act to prog-rock hasbeens. This is saddening for local music. You. Missed. An. Outstanding Gig.

The Fold is not out to rival the cover-band ethos popular at The Three Crowns, despite this glory having its place equal to the blues at the Blues club and Southgate. The Fold doesnโ€™t intend to better any other event or venue happening in Devizes, only to add to the options we already have, and bring to town a variety of original grassroots music in an intimate setting. But the intimacy of the room has to have a minimum for it to be viable.

The first open mic at the Fold

This should NOT be a negative reflection on the acts or venue. I find myself paranoid, if it’s me, and youโ€™ve lost trust in my judgement to book acts? Yet I’ve been to other events which made no sense for their failings. I only got into event organisation to better understand what organisers undertake, being I was to appraise them, after our first birthday party left me completely unprepared for the tasks involved. It is still a learning curve, but everything previous has been successful for me; now I know the heartfelt emotions of an event organiser who worked tirelessly but whose event didn’t attract attention. So, if this comes off bitter, it is genuinely upsetting. 

Perhaps if I host tribute acts to Meg and Seren fifty years from now in Devizes weโ€™ll sell out! Or are we really this shallow? I prefer to hope we are willing to give upcoming local talent a chance to shine, to move between the little circuits carved by the fields dividing us.

But for now, do I continue, pick up the pieces and try, try, try again, and if so, at what cost? Phil Cooper arrives at The Fold on Friday 22nd May, with Jamie and Tamsin. Here is a gig from the gang very well known to Devizes, which, hopefully will attract some attention. l wait in hope, concerned for the future of local live music in Devizes.ย ย 

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M3G, De-Anchored

At the end of last year Chippenham singer-songwriter M3G released the single Rooks. I felt it set her bar at a whole new higher level.โ€ฆ

Keep reading

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Radium on Liddington Hill

Swindon-based adrenaline pumping five-piece Liddington Hill released their first EP for three years, and Radium is highly radioactiveโ€ฆ..

For most on the North Wessex Downs, the clump of beech trees at 900 feet high atย Liddington Hill is a landmark to get your bearings. Without a carpark and a mile from the Ridgeway, its Iron Age hillfort isn’t nearly the tourist attraction as its neighbouring sites, Barbury and Uffington. But with fables of King Arthur and as Swindon’s World War 2 decoy control bunker, it overlooks the town with a safeguarding history of its own. For Swindon music aficionados its name doubles up as a contemporary local bandโ€ฆ.

Devizine first mentioned Liddington Hill when their front girl took to wearing a cow’s head in 2021, summarising their sound as Celtic punk. Two years later their second album, Edge of Insanity, carved a more unique angle we could best describe as โ€œCeltic grunge.โ€ Horrifically it expressed narratives of serial killers and inmates in sanitoriums, and gave plenty of the edge you expect from such morbid subjects. But often the merger between Celtic folk and grunge felt segmented; each track lent mostly towards one or the other. Liddington Hill returns to the studio after three years with an EP which better combines and merges the two fractions, and masterfully deploys them as one almighty blast.

Radium has five dynamite tracks, three with different historical narratives, and two more commonly concerning relationships. With nods to past punk styles, they swap between male and female vocals. With the latter thereโ€™s elements of riot grrrl, as in particular the opening track Peterloo. Not to be confused with anything by Abba, it kicks down the door with a heavy rolling electronic guitar riff and fiddles. The cavalry of the Yeomen charged into a crowd, gathered to demand the reform of parliamentary representation at Manchesterโ€™s St Peter’s Field in 1819, and with its unnerving driving chorus the song represents the fear of the charge.

But if Peterloo sits in England at the end of the Napoleonic Wars and the economic slump which it caused, Tarrare’s Stomach, third track in, rests earlier on the timeline, in France during the conflict. Tarrare was the real Mr Creosote from Monty Pythonโ€™s Meaning of Life, a gluttonous showman whose insatiable appetite was his act. He scoffed his way through the French Revolutionary Army rations, so General Beauharnais put him to military use, as a courier who would swallow documents, pass through enemy lines, and recover them from his poo when safely at his destination! Tarrareโ€™s fate could suggest Liddington Hill are implementing at least four of the Seven Deadly Sins, if Peterloo represents wrath. This track belts out grunge style, but again with those fiddles gives it the ambience for its historical context.

The fourth song moves forward in time to America at the beginning of the twentieth century, and serves as the ultimate health and safety in the workplace regulation. Luscious Radium concerns factory workers dubbed the โ€œRadium Girls,โ€ who were encouraged to lick their brushes when painting clock faces to maintain a fine tip, consequently ingesting radioactive material from the paint, and their landmark legal battles which established workers’ rights against corporate negligence; and you thought you were treated unfairly having your day off cancelled! 

Again, Lucious Radium is rich in this blend of ladened guitar and rolling drums, with the added Celtic instruments to provide this unique take on grunge and give it a sense of west country geography. Female fronted this one teases vocally, with deriding irony and the nonconformity of Siouxsie Sioux.

The other two songs deal more commonly with relationships; I could call lust from our deadly sins list. Pretty Boy, and Ever Shot a Gun Before both deal with suicidal tendenses due to romantic troubles, and both reference guns. With swapping vocals, Pretty Boy reeks with emotional outpour and should come with a government health warning. The finale is less three minute hero thrash than Pretty Boy, and more epic building grunge layers, with a memorable simple concept.  

The long-term effects of a relationship considered concrete by the character in the song, playfully chants on the ill-thought solutions and depicts the emotions of loss. Yet thereโ€™s a โ€œlittle help from my friendsโ€ epilogue, placing you concluded by the end and safely back in your armchair. Phew, radioactive factory women, a charging Yeoman army, a gluttoness cannibalistic French soldier, and your mate going to shoot himself because he broke up with his missus was all just a nightmare, evoked by this unique and intelligent grunge trip!

Radium is solid throughout, it never delves into ambient sympathy breaks. It may not be recommended by your history lecturer, but is an adventure in guitar crashing, drum rolling fiddle flashing with a historical reality. It takes no prisoners, and is the natural progression for Liddington Hill you need to take heed of. Thereโ€™s a strong grunge scene in Swindon, but perhaps no other band has this unique spin on it. Radium is exclusive.

The EP was released on 17th April, on streaming sites and is available for digital download on Bandcamp and CDbaby. Vinyl and CD versions are available through their website. www.liddingtonhill.comย 

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Ready for RowdeFest?

Not long now, for Rowdefest! Which, as the name suggests, is in Rowde, near Devizes, on Saturday 30th May, and is a free, community spiritedโ€ฆ

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โ€œA Midsummer Nightโ€™s Dreamโ€ at the Rondo Theatre, Larkhall, Bath, 29th April- 2nd May – a preview

by Mick Brian

images by Jim McCauley

โ€œLord, what fools these mortals beโ€, says the mischievous sprite, Puck, to his master the fairy king Oberon in William Shakespeareโ€™s โ€œA Midsummer Nightโ€™s Dreamโ€. Whilst in the text, he is addressing the four Athenian lovers and their irrational behaviour and criss-crossed love pairings โ€“ albeit created by himself an Oberon with fairy magic, this quote may also wonderfully encapsulate the fun-filled performance of Shakespeareโ€™s comedy by Bath Drama at the Rondo Theatre next week.

Directorship by James Dennis, assisted by Lauren Davis, has playfully adapted the court of Athens and its surroundings to be a factory warehouse in England in the 1980s, with a wonderful โ€˜80s soundtrack to accompany and underline the action, with the court being the managing directors of the Athenian and Amazonian factories as they complete their merger.

The Mechanicals are portrayed as factory workers, foreman and all, while the lovers are the various middle class youngsters, intent onloving and hating each other in turn.

Meanwhile the fairies and woodland sprites are the homeless and destitute in the grim streets of the industrial park where the factory sits.

Soundtracks are often overlooked in reviews so I will begin with outlining the quite excellent and at times amusing soundtrack James has pulled together. This is no simple mish mash of โ€˜80s hits though โ€“ there is poignancy and comedy in the selections too, so keep an ear out for the incidental musical teases throughout the show. From Ultravox, Eurythmics and Foreigner, to Madness and Black Lace the offerings will bring a poignant smile to children of the 80s and maybe those of earlier decades (*cough*).

James has a further twist in character selection, gender swapping Lysander and Helena embracing the โ€˜80s freedoms of open same sex relationships setting aside historical stigma, a bold yet historically pertinent decision.

But Gentles, perchance you wonder at this show, but wonder on, till truth be plain to seeโ€ฆ whilst there is much sleeping to be found in this play (the various lovers spend an inordinate amount of time kipping under WSโ€™ penmanship of course) there is nothing โ€œwokeโ€ about the play (at which let no man wonder) if that is something that concerns the less open minded amongst usโ€ฆ it’s is the same old wonderful silliness that Shakespeare wrote four hundred years ago, and Bath Drama deliver that perfect silliness in spades.

The Mechanicals are just the sweetest bunch of adults-going-on-twelve-years-olds you could ever want to meetโ€ฆ childish in outlook, maximising their fun from their dreary factory work โ€“ and where Imogen Notshaw as Bottom encapsulates the weaverโ€™s excitement, confidence and self-centredness wonderfully. Ian Diddams plays the exasperated but father like Quince, Graham Cain the nervous and concerned yet LOUD Snug the Joiner (along with Mustardseed), Lucy Perry the excitable Snout and Jack Sandbach the timid and unsure Flute and the stunningly beautiful Thisby!

Back in the Court and the woodland a.k.a. the grim outside, Andy Cook plays the pompous Egeus and Cobweb, Sophie Turner the strong-willed Hermia, Jem Shea the wayward lover Demetrius, Amber Gibson the trouble making Puck plus company secretary Philostrate.

Gender flips as mentioned above sees Diluki Oโ€™Beirne play Theseus and Oberon, Toby Skelton as Hippolyta and Titania with Lauren Arena-McCann as Lysander, and Gully Trim a delightfully demure Helena. And here, we hope, they have a play fitted.

This is Shakespeare as wrote โ€“ with extra gags, daftness, music and dancing, walls, dogs, asses and lots and lots of fairy magic to boot. Bath Drama have embraced Shakespeareโ€™s comedy and have delivered it in style, with great comedy, a few poignant moments and a lot more foolishness on top.

The set is a simple one – as befits Shakespearean productions the stage is little more than a black box with brick wall facades and some on stage wings but is well presented ( less that appears to be dam ing with faint praise!) by Denis Phelan. Tech is as ever superbly delivered by Alex Latham and the entire show seamlessly tied together by the Stage Mangement Team of Connor Palmer and Ellen Read with Scarlett Hayler-King fitting everybody out beautifully as costumer. Laurie Parnell as musical maestro created the musical flow of the show.

You can catch this wonderful production at the Rondo Theatre, Larkhall, bath from April 29th to May 2nd, evenings at 7.30pm and tickets are available at https://rondotheatre.co.uk/a-midsummer-nights-dream

REVIEW โ€“ King King @ The Corn Exchange, Devizes โ€“ Tuesday 21st April 2026

Acoustic Tuesday

by Andy Fawthrop

Not my favourite night for going to a gig but, hey, sometimes you just have to roll with it.ย  On a night to fit in with their current short seven-date UK tour, Tuesday it just had to be, and King King rolled into town with their stripped-back โ€œacoustic setโ€.

First up, alone on stage, was support act Felix Rabin, a young man with plenty of talent. The Frenchman gave us a cracking first twenty-five minutes, and did an excellent job at paving the way for the main act to come.ย  Here was a man with a mic, a few loops and pedals, a stomp-box and a (gasp) electric guitar.ย  Over just six or seven songs, he easily won over the audience with a wide variety of songs, ranging from full-on loud, almost screaming anguish, through to some really thoughtful and tender material.ย  With an easy, comfortable, personality he fully engaged the audience.ย  The loud applause and the long queue at his merch desk at the end were both fully deserved.ย  A worthy support to the main act for the night.

After a somewhat over-long interval, during which we were able to โ€œenjoyโ€ the Corn Exchangeโ€™s excuse-for-a-bar, it was time for the main act.  With beer, cider and (cans of) Guinness at ยฃ6/ pint, served in plastic glasses by less-than-friendly staff, this is the venueโ€™s Achilles heel.  The offering is so limited, depressing and expensive.  Such a shame, when the overall surroundings of the hall are great, the entertainment was top-notch, and the sound quality delivered from stage was clear and crisp.  Pity they canโ€™t offer music fans something better.  However, I digress.

King King are a British blues rock group, formed in in Glasgow back in 2008 by Alan Nimmo and Lindsay Coulson, both formerly of The Nimmo Brothers. The band has released five studio albums and two live albums. The current line-up features Alan Nimmo (guitar and lead vocals), Stevie Nimmo (guitar and vocals), and Jonny Dyke (keyboards).  In this acoustic-only line-up, there was no room (or need) for bass and drums.  Back in 2014 British Blues Awards, the group won five awards including the Best Band and Best Album Awards.  Normally, in their full electric line-up, theyโ€™re widely praised as one of the UKโ€™s premier blues-rock bands, and known for their high-energy live performances.

Full disclosure: Iโ€™d never seen King King before, so Iโ€™d no idea what to expect.  However, I quickly gathered that the almost-full hall of the Corn Exchange was well packed with plenty of their fans.  By the time I took my seat Iโ€™d already had several fanboy conversations with folks I knew, and seen plenty of King King t-shirts.  The merch desk was also pretty busy.  So I was coming at this with a completely open mind and open ears.  โ€œCome on,โ€ I thought, โ€œshow me what you can do!โ€ Suffice to say, dear readers, I was not to be disappointed.

So not a full-on blues/ rock band then, but an acoustic  version of that band.  Last night, which Alan introduced as โ€œan experimentโ€, was all about keeping things much more stripped back, intimate (compared to their usual format), and with a strong focus on the quality of, and the stories behind, the songs themselves. 

For the next ninety minutes, through a flowing single set, they demonstrated very clearly their superb musicianship, vocal harmonies and song-writing skills.  There was plenty of inter-song chat, building up a picture of their back catalogue, but never straying into that tedious trap of doing more talking than singing.  There was plenty of cheeky humour, music business anecdotes, and an easy patter and interplay with the audience. The songs really spoke for themselves.  Hauled up from various parts of their back catalogue the two Nimmo brothers, both seated with acoustic guitar, introduced songs of great power.  The acoustic format allowed the vocals to really shine through, but never at the expense of some great work from the guitars and keyboard.

There were some nice riffs, some great choruses, plenty of audience participation. Most of the audience didnโ€™t need much winning over in the first place, but as a newbie I was fairly quickly convinced too.  Gotta say that I really loved it, and now feel prompted to go and see the band in their more โ€œnormalโ€ full electric format.  Another time, another date โ€“ but hopefully not on a Tuesday!

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Vinyl Realm Settles Into New Home

A median haul of vinyl can weigh in, but thereโ€™s no longer a trek down Northgate Street for record collectors and musicians alike. Vinyl Realmโ€ฆ

Radium on Liddington Hill

Swindon-based adrenaline pumping five-piece Liddington Hill released their first EP for three years, and Radium is highly radioactiveโ€ฆ.. For most on the North Wessex Downs,โ€ฆ

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Lavington Electronica Composer Moray MacDonald Releases a Wharf Theatre Production’s Soundtrack

Some four years since his last release under his own name, Lavingtonโ€™s electronica composer Moray McDonald presents a soundtrack; the music he wrote and produced for Devizesโ€™ Wharf Theatre’s production of Kit Marloweโ€™s Doctor Faustus, which was performed back in Januaryโ€ฆ..

It was one of those rare occasions I stepped in to cover the dress rehearsal as our regular theatre critic Ian, was busy, stuffing a bucketload of Rice Krispies in the play! And Iโ€™m glad I did. I was uncertain if Iโ€™d take to director Liz Seabourneโ€™s recreation of this Elizabethan gothic black comedy, but came out of there thoroughly enthralled. The composition of the playโ€™s many components made it one of the best plays Iโ€™ve seen; the script, acting and production, yet it wouldnโ€™t have been half as spookily ambient if it wasnโ€™t for Morayโ€™s soundtrack.ย 

Image:@jenimeadephotography

They may only be nine snippets of sound, but with the music on Bandcamp at name your price, listening to it took me back to the play, and reminiscing at just how brilliantly sinister it was. Acts of Black Magic starts us off, an eerie soundscape, with harpsichord strings and jingling foolโ€™s caps, Somewhat to Delight has an unnerving medieval court jester feel to it, grinning devilishly, and then weโ€™re back on soundscapes, and Mendelssohn’s Wedding March gets a spooky underscore.

We swap from a soundscape to orchestral with each brief track, The Seven Deadly Sins nods playfully to Celtic folk dance, whereas the following Devilโ€™s Attack lends more to Buranaโ€™s O Fortuna, but all are equally unsettlingly devilish or scary faerie. If anything it displays the diversity at Morayโ€™s skilled hands, being his concentration has recently been on his Cephid project, a ground-breaking album of electronica, Sparks in the Darkness, which we fondly reviewed in 2023, and enjoyed a rare and intimate live performance of at Bath’s Rondo Theatre.

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Serenโ€™s New Single; Worm

Thereโ€™s a cold remote ambience of burrowing doubt in the opening of Westburyโ€™s singer-songwriter Serenโ€™s debut song, in which, as the title suggests, she uses a worm analogy to convey shadows of diffidence. Yet, it is a breath of fresh air of resilience, and an exhaustive equilibrium in which to express sorrow and build from a simple honest riff to a sublime and encapsulating stentorianโ€ฆ..

Worm, released today, is impressive. Itโ€™s a richly layered spring-like emerge, a hedgehog poking his nose out of his winter nest. If isolation is a trap, Serenโ€™s uplifting vocals are the escape route, and in this itโ€™s a message to herself which will profoundly convex to others through association; the key to good folk music. Though, it is an urban myth that you can cut an earthworm into two and both parts will live, Seren uses the comparison to the numbness of her mood, not for dividing or multiplying herself, rather to โ€œsee if I feel a thing.โ€

A reflection on a burrowing exercise from emotional blunting, then, hiding, and waiting for a storm to emerge; this song should be that onset squall, for whilst it uses classic singer-songwriter folk hinting towards Sandy Denny or Maddy Prior influences, the beauty of Serenโ€™s vocal range melancholically penetrates through the numbness of its subject; the formula of an experienced artist, of how Tammy Wynette could woo an audience. Though Worms equally captures, it depends more on mood observation than the literal narrative of the likes of Wynette.

โ€œI wrote the song when I was sixteen, in October, a few months into starting my first year at college,โ€ Seren explained, โ€œthe song was linked to struggles with mental health that I have had around that time and before, and how it was making me feel. Itโ€™s a song that was very personal and something that will forever hold meaning for me.โ€

So, Iโ€™ve not had the pleasure of meeting Seren yet, nor seen her perform. I booked her for our double-bill with M3G for our first evening at the newly opened Fold in The Lamb, Devizes based on the strength of the few social media videos she has posted and M3Gโ€™s recommendation; theyโ€™ve worked together before. This song strengthens my faith that this will be an amazing night, for, like M3G, Seren holds a rare skill to encapsulate through honesty and fidelity to her music. You need to listen to Worm, and if you do, Iโ€™ll see you on Friday 24th April; yeah you got me, itโ€™s a gig plug, but even if it wasnโ€™t, in writing and acoustic combo, Worm is this prodigious and breathtaking!

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Serenโ€™s New Single; Worm

Thereโ€™s a cold remote ambience of burrowing doubt in the opening of Westburyโ€™s singer-songwriter Serenโ€™s debut song, in which, as the title suggests, she usesโ€ฆ

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Don’t Click on Illegal Rave Rage-Bait!

The biggest risk for any media reporting negatively on illegal raves is that, in their youth, their fifty-plus target audience probably attended illegal raves themselves!

What the actual F are they trying to prove with their negative coverage of an illegal rave, when tax-dodging billionaires ripped a financial hole into the country, politicalย extremists march causing division and spreading hate, yet all seem unscathed from media assaults, and countrymen illegally hunt without concern journalists might pop out of the hedgerow with a waggy finger? That a few kids want to have a party? Really?!

Their laughable problem is, rage-bait backfires and they lose readership. Post comments on their social media shares in support of the ravers, by all means, but don’t rise to the temptation of clicking on these articles, because they couldn’t give a monkey’s arse about your opinion, they only want to feed their advertisers with blossoming stats.ย 

The Castlemorton Common Festival in May 1992 was the UK’s largest illegal rave, with an estimated 50,000 attendees, a mere fraction of the hundreds of thousands of folk who regularly ventured out to party their cares away at the peak of rave culture in the nineties. Perhaps there’s some diehards still at it, more organising events, but for the most, they’ve matured, settled into life, yet retain fond, kaleidoscopic memories they don’t want tarnished by negativity about the slim chance of a comeback!

Media platforms pathetically attempt to enrage for clickbait with damning reports about the odd slight bank holiday gathering, when the feedback suggests the reality for a majority is the only annoyance it might cause them, is that they never dusted off their white gloves and whistles, and attended themselves?!

I have to laugh at the audacity, the final irony being, when acid house parties first appeared in the eighties, there were only a handful of Ibiza-returning aficionados partying, until one invited a journalist and the newspapers exploded the scene! At first they encouraged it, tongue-in-cheek, The Sun even sold acid house t-shirts. But once the scene blossomed, out of government control, and t-shirt sales waned, they turned nasty, exploiting it with scare stories for parents to wither in fear their teenagers might be involved. It was more likely they weren’t, until they saw the newspapers, but by then it was on Top of the Pops.

It was as if they did it just to sell newspapers; who’d have flunked it possible?! Crazy to think how the press would be so callous, but now it seems they’re up to it again, and I predict adverse effects, again. The bottom line being it’s no new-fangled trend, and wasn’t back when; for as long as mankind has been on Earth, they gathered tribally to dance to hypnotic beats, and didn’t need TicketSource to do so.

There’s nothing for younger people to do in the cesspit we call โ€œprogress,โ€ and just as it was back in the nineties, if they want to ensemble, gather freely for enjoyment, make the most of what little freedom they retain building communities, friendships and celebrating their time alive, then so be it. Open your eyes and look around;  there’s far worse they could be doing.

So, journalists, get your own life, and quit jumping on their backs for hits โ€ฆ..please share this article if you agree with this hypocrite writer, or give the codger a chewing gum, bottle of water, and send him off to the fantastical utopia of blissful yore swishing in his mindset!!

Devizes Music Academy returns with uplifting production of Sister Act!ย 

Devizes Music Academy is set to bring joy, energy and a whole lot of sparkle to the stage with its latest musical theatre production,ย Sister Actย later this week…..ย 

Following the outstanding success of previous productionsย SIXย andย Everybodyโ€™s Talking About Jamie, the Academy continues its run of ambitious, high-quality youth theatre with this feel-good favourite, based on the much-loved film.

Sister Act tells the story of Deloris Van Cartier, a nightclub singer who is placed in protective custody in a convent after witnessing a crime. What unfolds is a heartwarming and often hilarious journey of friendship, transformation and finding your voice – all set to a vibrant score inspired by disco, gospel and Motown.

Directed by Jemma Brown, with her team Sarah Davies and Teresa Isaacson, the production showcases a cast of talented young performers who have taken on an extraordinary challenge – learning their lines, music and choreography in advance, and bringing the entire show together in just five days. They are performing the show in the round – where the audience surround the stage – itโ€™s a truly exciting project. 

Jemma said, โ€œThis show is just full of joy. Itโ€™s bold, uplifting and all about finding your place and your voice, which feels incredibly important for young people. What always amazes me is what this group achieves in such a short space of time – the commitment, the teamwork, the energy. Itโ€™s genuinely quite special to watch it all come together.โ€

Ruby Phipps, who plays Deloris and previously appeared inย SIXย andย Everybodyโ€™s Talking About Jamie, said, โ€œIโ€™m absolutely loving being part ofย Sister Act. Deloris is such a fun role to play, and the music is just incredible. What makes it really special though is doing it with this group – everyone works so hard and supports each other, and it all comes together so quickly. Itโ€™s such a great experience.โ€

At its heart, Sister Act is a story about community, acceptance and individuality – themes that resonate strongly both on and off the stage.

The production also highlights the powerful role the arts can play in young peopleโ€™s lives, helping to build confidence, resilience and a strong sense of belonging.

โ€œIn a world where it can sometimes be hard to see the positives, this show is a reminder of what young people can achieve when they are given encouragement, belief and the chance to shine,โ€ Jemma added.

With a brilliant cast, an infectious soundtrack and a huge sense of fun,ย Sister Actย promises an uplifting night of theatre for audiences of all ages. And the Academy is already looking ahead, with plans to take on the iconicย Les Misรฉrablesย next year.

Sister Act Jnr is at Devizes Corn Exchange on Friday 10th and Saturday 11th April. Tickets: www.ticketsource.co.uk/dma or from Devizes Books.

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Harmony Asia Can Do This

Itโ€™s a question Iโ€™ve asked Chippenham singer-songwriter Harmony Asia on each rare occasion I catch her for a chat; if sheโ€™s planning to capture aโ€ฆ

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Three Crowns, One New Stage, and a Fake Family

Easter 2026: I could speculate The Three Crowns was still the place to be in Devizes, but thought it best to check! I’m not the gathering-shit-from-Facebook type journalist, pal, I’m the milkman who needs an unwinding cider or six on a Saturday. I took matters into my own hands; things I must endure for the cause of investigative journalism!

Three-piece Trowbridge punkers Marty’s Fake Family were second on the new south-facing stage, The Reason rocked it first, on Friday. Landlord Simon explained the sound now projects into the carpark causing it to be less of a neighbourly nuance, but, while the space might be more confined, it gives lift and stance to the performers, and marks a boundary so equipment isn’t at risk. Waddies are spending money on this establishment, there is no reason to wonder why when you attend.

Marty’s Fake Family know which buttons to press; they’ve played here before, and what they do fits like a glove. They kick off as they mean to go on, fiery rock with embers of their metal and punk roots, and giving it 200%. Though, they mellow early for Snow Patrol’s Chasing Cars, jesting it’s the only ballad they do. If we’re being eased in gently it remains loud and proud, though the crowd is slighter, and older; the age demographic dips at 10pm and the pub fills to bursting point. Millennials and Gen Z are economically conditioned, I guesstimate taking advantage of Spoons’ prices and moving on to where the action is when sufficiently wobbly.

And The Three Crowns know exactly how to play it. A young friend of my family perfectly summarised; “there’s nowhere else to go in Devizes.” Technically there is, yet the Crowns appease them with an efficient cashless bar, and comfort food, appetising burgers and wings. But the central attraction is a lively covers band to which they can sing along to timeless pop classics, loudly, and party surprisingly civilly compared to youths of previous generations. Some take Scissor Sisters’ advice and take their mammas out all night, but age is meaningless for Three Crowns regulars, the vibe fits all.

Marty’s Fake Family absolutely rocked the crowd with bells on. They’ve been doing similarly proficient shows locally for eight years. If you want your venue/event to be a library-esque original music appreciation society, avoid them as theyโ€™re living and loving it in the cover band moment, and Martyโ€™s Fake Family needs 1.21 gigawatts of electricity to operate their flux capacitor; great Scotts, what a night; The Three Crowns can produce the power requirement!

Like Busted and McFly, bassist Dan confirmed their namesake relates to Back to the Future, and explained they started with metal intentions but, tongue in cheek, wanted to do Abba songs. โ€œThe rest of the band thought it was a shit idea, but it stuck,โ€ he told me… before running off to the loo at breaktime.

Their repertoire spans like the Tardis, anything from any era crowd-pleasingly loud, and they do it with zest and punk passion. So, tunes like American Idiot and Teenage Dirtbag need no adaptation, Blur’s Song Two, All Sit Down by James, and The Cranberries’ Zombie guaranteed to excite, alongside eighties rock, ZZ Top, Sumner of โ€˜69, et al. But they’ve rabbits in their hats as the evening progresses; punky versions of Abba, Eurythmics meld into Noah Kahan’s Stick Season, and return to Sweet Caroline proclaiming to walk 500 miles and every other crowd-pleaser youโ€™ve no need to request; there’s even a rock n roll medley finale. They tick every cover band box, stamp their authority, and certainly seal my approval.

Seems the Three Crowns retains their everyday staple entertainment status quo in Devizes, has been top of their game for some time, and show no sign of letting up. Perhaps we need to award at least one more crown to its name for sustaining this dominion; four, five or even six Crowns maybe?!!  

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Extended Lineup for CrownFest

It was back in October when we revealed CrownFest at The Crown in Bishopโ€™s Cannings was returning this summer, and January when we last mentionedโ€ฆ

Chandra Likely To Go Boom!

Buzzwords, like โ€œturbo,โ€ or โ€œsonicโ€ are cliche, overused trends which gain popularity because they sound impressive, even if they are empty of meaning. I avoidโ€ฆ

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All Together Ooky; Addams Family Musical with Devizes Musical Theatre

Whether you’ve a bizarre inclination to meet the Addams Family in the flesh and figure this might be your closest opportunity, you couldn’t think of anything worse, or you’ve absolutely no opinion on the matter whatsoever, Devizes Musical Theatre’s Addams Family Musical is a must-see!

Invited to the dress rehearsal yesterday, The Addams Family Musical opens tonight, Wednesday 1st, and runs to Saturday 4th April, at Dauntseyโ€™s School, and I can confirm it’s creepy, kooky, mysterious, spooky and absolutely brilliant. I left delighted and more charmed than spooked.ย 

The Addams Family began as a panel in the New Yorker by Charles Addams, a cartoonist alleged to be nearly as weird as the characters he created, but it was the gothic sitcom of the sixties which most will fondly recall, and Barry Sonnenfeldโ€™s nineties movie adaptations brought them into contemporary culture.

The popularity of a recent television spinoff about the family’s daughter Wednesday fares well with the timeliness of this production, especially being the story of this musical centres around Wednesday coming of age too. Within the beloved setting of the Addams Family franchise, it follows a classic musical plot of forbidden love with a happy ending.

It tells of losing inhibitions and that love is calmly discussing your differences. But, no more spoilers from me! Rest assured you’re in capable hands, because the casting on this is impeccable, and its appearance is the best weโ€™ve seen so far from Devizes Musical Theatre; itโ€™s a ghoulish visual feast.

I couldnโ€™t pick a favourite part, they were all exceptional. Gary Robson makes a convincing Gomez, the father, but Dolly May was born for the part of his wife Morticia, it would seem, and the chemistry between them was magnetic. Likewise for Wednesday, played so utterly wonderfully by Grace Sheridan, and the object of her desires, Lucas, in which Oscar Thorley played with superb ease; if Oscar is his name, well, he should win one!

In contrast to the family traits, Lucasโ€™ parents Lucy Burgess and Simon Hoy presented them with professional quality, particularly when their influences are altered by the course of the narrative. Then you have the steadfast extra family members, pouring the comedy into it, such as the Grandma, Debby Wilkinson, whose haunting cackle alone would be plentiful for comic effect, without the need for her grinning smirks and ambling around the stage.

Cameron Williams plays Frankensteinโ€™s Prometheus butler Lurch, who is still amazing, despite having nothing but a growl, because thereโ€™s a twist, at the end, and Iโ€™ll say no more. The troubled son Pugsley, played with magic by Georgia Saunders is key to a plot twist, and is so convincing in the relationship with his sister, she may as well be a sibling to Grace.ย 

Attending a dress rehearsal has slight differences to the actual show, one thing you wouldnโ€™t see at the show was when, at the interval, Ben Griffiths-Mills, who plays the disturbingly innocent Uncle Fester, came to address the director Lyn Taylor, who happened to be sitting beside me. The Addams Family is more music and fun than spooky, the most shocking part of my evening was not in the show, rather when Ben spoke in his normal voice to Lyn, as I was so utterly convinced by his sublime performance as Fester, I expected him to speak with the quirky high-pitched accent of Fester! And this sums the experience up, so credible it is, I had to remind myself these were actors in character; in that, Thing wasn’t wandering around the school at night, and if forced to pick a favourite, Uncle Ben Fester would probably be it!

Such is the attention to detail, I reveal thereโ€™s not just a random collective of excellent dancers too, but theyโ€™re separate characters of the ghostly ancestors the Addams have venerated, and each dances around their crypts according to their back stories and fate; the program identifies them, and the cast highlight the show.

Iโ€™ve mentioned the dubious double-meaning of the word โ€˜amateurโ€™ used in the term โ€˜amateur dramaticsโ€™ before, being a noun for โ€˜unprofessionalโ€™ doesnโ€™t necessarily mean the subject it refers to is โ€˜rubbish,โ€™ as second definitions suggest. I did so in a review of a Devizes Musical Theatre production, because, while everyone volunteers, the standard, attention to detail, and production values are so high you could assume youโ€™re at the West End. This notion has never been more relevant than with their latest production, The Addams Family Musical; if youโ€™re going, youโ€™re in for a treatโ€ฆand definitely not a trick.

When people come to see ’em, They really are a scream, The Addams Family may not have the same box office clout as Devizes Musical Theatre producing a Disney fairy-tale; thereโ€™s a few tickets left for a performance which usually sells out. Do not be distracted by the quirky choice of production, as this was DMT at their very best.

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Vox Populi: New Album From Deadlight Dance

The difference between punk and goth is that as a punk you reject society, as a goth society rejects you. Being society lives mostly online today, that’s probably why my spam filter assumes proposals from exiled middle eastern princes to deposit bitcoin into my bank, and machines to extend oneโ€™s manhood are of interest to a regional entertainment blog, but a local goth duo’s new album should be hidden in a spam folder.

Algorithms now pressure me into having to rush this out, despite noting on social media, Deadlight Dance are releasing their third album, Vox Populi tomorrow (Friday 20th March), which they launched at The White Bear in Devizes last Sunday. Have Nick and Tim got in the humph with me?!

They are Eurythmics-covering retro goths after all, who seem to be dealing with the apocalypse with new songs and a spot of gardening. I’ve always been nice about what they do and thought the feeling was mutual! Not at all; seems after a quick Facebook message, the glitch is real, and the email was discovered; and just like the issues Nick and Tim describe, โ€œthe populist rhetoric, the age of the oligarch where the rapid development of A.I. and deepfakery is upending reality, and โ€˜straight-talkingโ€™ chancers who claim to represent the majority are stoking the smouldering embers of fascism,โ€ these are the depressing first world problems which need addressing, and with them in mind, isnโ€™t it overdue to rekindle the era of the goth spirit?

Recorded as usual at Mooncalf Studio with legendary purple-bearded producer Nick Beere, it feels at times as if Deadlight Dance are canvassing for compassion as humanity gears up to vote for the collapse of civilised society. โ€œItโ€™s dark,โ€ agrees Nick Fletcher, โ€œbut there is hope there. You donโ€™t talk about these things unless you want to do something about it.โ€

โ€œLight and shade,โ€ says his partner in sound, Tim Emery. โ€œHopefully thereโ€™s something forย everyone. For some people, everything will be for them.โ€

With all edgy synths blazing, Gloss opens Vox Populi, dramatically and attacking the beauty industry, its harmful lies and unrealistic standards in an era most pop stars are encouraging them. We reviewed this as a single last October, where I vowed to shave my eyebrows off and draw them back on with a Sharpie. The exploitative nature of the cosmetics industry, the first deep and eerie original song of eight, which speak of algorithmic existences; gaslighting by the elite, the paradox of โ€˜humaneโ€™ food production, identities and the preconceptions that can shape them, the corporatisation of the militaryโ€ฆ and gardening.

โ€œThere are some important horticultural and botanical references,โ€ says Nick, reassuringly. The poisonous evergreen shrub Daphne odora, being an example, as the second tune, a poignant plodding shoegazer and followed by a surprisingly jocund ballad which gracefully reminds of the playful moments of The Cure.

Red Flags warns of danger, but takes no prisoners, Lachrymal is as dismayed as Fields of the Nephilim, Glass Walls is uptempo, furious and robust by design, an enclosed space frameless and seamless, but perhaps not maximising natural light, for thatโ€™s simply not goth!

The Theatre of Absurd thuds us back into the dark, with anticipatory anxiety and New Order beats. Followed by the first of two cover songs, Eurythmicsโ€™ Sweet Dreams. Deadlight Dance comforts you here with familiarity and reminiscence, but stamp their own authoritative pounce on this, and the second, Princeโ€™s When You Were Mine, both of which feature guest vocalist Sian and drummer Mike Dymond, the latter of whom first played with Nick and Tim when they were sixth formers.

Thereโ€™s an underlying retro sensation with all that Deadlight Dance produces, that not all electronica was lost to Stock Aitken Waterman, and neither will it be with smug grinned Simon Cowell. And something wholly satisfying that post punk artists of yore inspired Nick and Tim to form a band, and, acne replaced by wrinkles, thirty years later, amidst a global pandemic and a growing whirlwind of social and political chaos, they felt that the time was right to continue the journey. But what is more, is that younger punk bands, like those gravitating towards DIY labels like Sketchbook, are continuing the theme, and, I reckon, would take Deadlight Dance with similar respect to the aforementioned post-punk artists who inspired Nick and Tim. At least they should if or when they hear this album.

While there is always a coherent thought process behind them all, their previous releases, 2024โ€™s acoustic covers album The Wiltshire Gothic, and the literature-themed EP Chapter & Verse of the same year, held a running theme more rigidly. The dystopian or unnerving observations of the modern era subjects behind Vox Populi is subtler, and this feels like the fashion of their debut Beyond Reverence, only with the natural progression, experience and diligence of those three years. And it shows, this is a most excellent album, once again.

Vox Populi is released worldwide to stream, and own as a CD, vinyl LP and download,ย through Ray Records on Friday 20th March. Check out details on their website HERE.

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Kate X: Swindonโ€™s Best Kept Secret

Youโ€™re young, stars in your eyes, and you live in Swindon; you are not alone, but you are, unfortunately, up against Kate X! Kate is independently producing contemporary pop RnB of international quality, and sheโ€™s riding it. Kate X should, and I hope and strongly predict she will be, a global success storyโ€ฆ..

James Threlfall spins her tunes on BBC Introducing, comparing her with Sabrina Carpenter and Zara Larson, and I respect his professional judgement. Her singles No Tears and Touch have amassed over nine thousand streams on Spotify and her latest, fifth single, For One Night had over a thousand plays in the four days after its recent release.ย ย 

Itโ€™s easy to understand why once youโ€™ve listened. Every element to a viable contemporary pop song is evident in Kate Xโ€™s tunes. Theyโ€™re sassy without being coarse, her mezzo-soprano vocals perfectly fit pop, and Kate has a natural flair for bringing acute hooks to the bridge. For One Night, in particular, has that driving RnB bassline, but as a collection, all of Kate Xโ€™s singles to date make for an impressive portfolio.

Iโ€™ve been hooked on Touch since Peggy-Sue Ford introduced it to me on her Donโ€™t Stop the Music show on Swindon 105.5 last year, and it hasnโ€™t left my head yet! For One Night clearly shows a natural progression, with a familiar and timeless clandestine lover theme, akin to Dusty Springfieldโ€™s popular cover choice Breakfast in Bed, but a contemporary soul feel more Beyonce than Kylie.   

She has 670 monthly listeners on Spotify, which for a local indie artist is impressive. She might suggest she can be the object of her desireโ€™s โ€œbest kept secret,โ€ but in my opinion, she should no longer be secret to mainstream media and a worldwide fanbase.  

Okay, so there are occasions, and more often than not, when an aspiring wannabe’s judgement obscures the probable reality that theyโ€™re the needle in the haystack and unlikely to progress to stardom in the competitive music business. And someone has the unfortunate task of tying their feet back to the floor. It’s sad, but a common stipulation, and often manipulated by television talent shows for ratings. But when I listen to Kate X’s tunes, compare them to what the mainstream is putting out, and consider she’s independently creating and marketing, this is clearly not the case here. Kate has something really rather special, which is on par with the mainstream commercial output.

All it takes is for word to spread, and maybe some crossed fingers and toes, but Kate X seems determined, and unquestionably has the potential to be the next big pop star.

Kate, your songs are simply brilliant, remain steadfast to your goal, mentally prepare for setbacks, obviously, but I reckon, judging on this latest single, youโ€™ve got it in the pocket girl! And we wish you all best of luck with this positively facing journey.ย Follow her journey on Instagram, TikTok, or Facebook.

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Big Ones: The Major Events in Devizes This Year

No one knows why, apparently, but fish are dying in our canal; everyone says wait for the EA report, except for the fish. A town full of road works, burnt out buildings and roads which look like weโ€™ve suffered a doodlebug air raid, but thereโ€™s glitch in the Matrix; itโ€™s temporarily stopped chucking it downโ€ฆ

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Devizine Steps Down From Organising Wiltshire Music Awards

After much deliberation, Devizine is to pull out of any further organisation of the Wiltshire Music Awardsโ€ฆ.. It has not been an easy decision, and I remain super-proud of what Ed and I achieved last year, getting this special occasion off the ground. The Wiltshire Music Awards takes complex organisation. Therefore, I feel I cannotโ€ฆ

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Whatever Happened to Pancake Races in Devizes?

It seems Shrove Tuesday celebrations in Devizes have fallen as flat as aโ€ฆ.well, you get the gagโ€ฆ Traditionally organised by Age Concern Wiltshire, and often supported by local partners like the Black Swan Hotel, which provided the pancakes, and the Devizes Rotary Club, pancake races in Devizes were an annual occasion, aptly on Pancake Day.โ€ฆ

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Shedricโ€™s Misadventures of Theodore Thump

Just who is Theodore Thump? A wise pet rabbit? The mysterious sixth Beach Boy? This album newly released from Shedric, Swindon soloist and groovist of Thud, reveals nothing, but makes for a diverse and interesting listenโ€ฆ.

The Misadventures of Theodore Thump was unwittingly released unto the cosmos earlier this month, and through title and cover art you might preconceive some psychedelic surreal nonsensical comedy akin to the Bonzo Dog Doo-Dah Band, and in a way thereโ€™s sombre and subtle nods to this direction, but thereโ€™s more than meets the eye to this masterwork of audio art.

With wailing guitar it opens unexpectedly, plodding cosmic blues fashion. This swaps to a drifting jazzy folk with smooth Nick Drake styled vocals for the second song, and back to cosmic wah-wah for the intro and chorus for the third, while it settles for a jazz piano core. Still, fusions know no bounds here. Immediately Iโ€™ve the notion that this melting pot isnโ€™t by chance, and the experimentation is purposeful, played out by a genius of many influences and with the ability to cherry-pick and compose them in such a way you are on the edge of your seat, captivated, intrigued, and thoroughly entertained.

It may all have been done before, but unlike this. Four tunes into this seven track marvel, Rosalie is a two-minute ethereal drumbeat and piano instrumental. Drifting lounge style, Scum is contradictory from subject to sound, whereas Lock & Key drives melodically classic RnB, Robert Palmer, and is likely the most commercially viable on this most excellent album. Thereโ€™s a finale, wonderfully written of feelgood sentiment.

Shedric said, โ€œThe Misadventures of Theodore Thump has taken me an insane amount of time to make. The levels of procrastination have been almost as epic as the hours spent at my kitchen table mixing and tweaking.โ€ The dedication and effort shows. It has the experimental quality of Sgt Pepper or Pet Sounds, the coolness of Bookends, its jazzy elements range from Blue Note to prototypical Mark’s Keyboard Repair. At times itโ€™s blues, at others itโ€™s folk, but it always leaves you guessing, and certainly is one to dive into, discovering more intricate details you might have previously missed before; marvellous!

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Rowdefest 26 Lineup Reveal!

Drizzly Sundayโ€ฆagain. Iโ€™ve just finished designing the poster, so allow me to reveal the lineup for Rowdefest this coming May, might cheer us up aโ€ฆ

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Chandra Likely To Go Boom!

Buzzwords, like โ€œturbo,โ€ or โ€œsonicโ€ are cliche, overused trends which gain popularity because they sound impressive, even if they are empty of meaning. I avoid them, but you cannot call Chandraโ€™s releases just plain indie-pop; theyโ€™re turbo-charged sonic boom spearheaded empowerments of synergy indie-pop songs which prolifically arrive with an explosive boom! And, coincidentally, Boom is the new oneโ€ฆ..

Seriously, thereโ€™s a glorious feelgood summer energy to this. You’d have to be having a really bad day to find fault with it. Love the bongo intro, and the subtle, tongue-in-cheek doowop backing, and the guitar riff bridge sits perfectly amidst the positive vibes the subject evokes in the singer.ย ย 

โ€œThis song is a bit of a departure from the norm,โ€ lovable showman Chandra says, โ€œover the past two and half years we’ve never once written a song about love. We’ve always written about topics such as inclusivity, tolerance, compassion, faith and self confidence, but the one thing that ties it all together is we want to write songs that are upbeat, hopeful and empowering. We hope that this song does exactly that.โ€

Observation double underlined, and box triple ticked.

โ€œBoom is a very spiritual song about love,โ€ Bristolโ€™s power indie-pop virtuoso continues, โ€œsoul-mates and the miracle of finding that special someone in a vast universe full of empty space. It may take a moment; it may take a lifetime, but when you find that special person who makes you whole, the explosion is as powerful as the Big Bang. And yes… sometimes it’s really scary to open yourself up to the possibility of being hurt, especially if you’ve experienced something bad previously; something is coming, everything will be alright.โ€

And thatโ€™s about as reassuring as the nature of the song too!ย  Boom launches into the universe on Friday 20th March. Thereโ€™s a BOOM Single Launch Party on Saturday 28th March, at The Queen’s Head in Box. Doors 7.30pm.

Find all stuff you need to know about Chandra HERE

Devizine Presents M3G and Seren at The Fold

Spring is on its way, and we’re looking forward to a season of great live music across the county. You’ve only got to keep your best eye on our ever-updating event calendar to realise the vast and varying options open to you. But here, in Devizes, there’s one particular place I’m personally excited about, the return of The Foldโ€ฆ.

Organised principally by JP Oldfield, the legendary Fold returns with open mic nights on the first Tuesday of each month, Bluebeard and the Desperate Hours headline a freebie with JP in support on Friday 27th March, and the one and only Gaz Brookfield returns to The Fold in a blaze of glory on the 5th June.

But with JPโ€™s reputation spreading like wildfire, he cannot always be at The Fold; I mean, we were just chatting about him supporting Imarhan at Bristolโ€™s The Fleece on Monday, and the many other gigs heโ€™s getting in the area. So, between Bluebeard and Gaz, and not for my ego, well, not entirely, I’m delighted Devizine can be involved with this project.

A Devizine takeover at The Fold, on Friday 24th April, that’s what I’m here to tell you about; bung it your diary now! It’s been too long since we’ve put a gig on. This is happening, the only requirement needed from you is to please support it. In order to encourage your excitement to match my own, we’ve done two things.

Firstly, while we need to fund it somehow, we’re keeping ticket prices as low as possible. Just like it was 1979, this is a pay what you can gig, but I plead that you consider this at the door, that the more you can pay the more we can give you in return, rebuild the Fold, and provide Devizes with some great acts in a comfy, intimate venue and at affordable prices. Please, flash a little cash, not for me, but for our musicians.

My second objective, and I know JP and I are singing off the same songsheet on this even if his singing is ten thousand miles above my own breathtaking shower concertos, is to bring to Devizes the amazing acts we see elsewhere, who haven’t yet made a Devizes debut, or who have rarely played here before. Musicians and bands which I think, โ€œthe good folk in Devizes would love this, they deserve to see this!โ€ And that’s precisely what we’ve done for our first Fold takeover.

We’re hosting two local upcoming singer-songwriters, firstly Meg, or M3G as she prefers, who I’ve been waffling on about for ages, with deserved praise, and my daughter scribbled a great interview with her some years ago.

M3G is an indie folk singer-songwriter from Chippenham. Her music mixes authentic lyrics with soaring vocals. Recently supporting the likes of Frank Turner, Jools Holland, Gaz Brookfield and The Lottery Winners. A regular at Trowbridgeโ€™s Pump, the venue now run by Kieran J Moore, who created Sheer Music at this very venue, The Fold; small world.

Her bio also says she’s โ€œdescribed as, โ€˜Beautiful and Captivatingโ€™ by a local music magazine,โ€ which I’m suspicious was me! And โ€œshe brings a unique perspective and humour to the stage,โ€ which sums it perfectly, if I do say so myself! Her recent singles, like โ€œRooksโ€ , were produced by Phil Cooper, who you should know from The Lost Trades, and also will be at the Fold with Bluebeard on the 27th March; again, small world!

M3G’s style is uniquely wonderful and personal, something I advise you really need to see for yourself; hereโ€™s your chance. I also introduce you to Take the Stage finalist Seren, a Warminster based young folk singer-songwriter with a voice you wonโ€™t forget.ย 

Seren performs a mixture of original songs and covers. โ€œMy favourite covers to perform are Fast Car by Tracy Chapman, Unwritten by Natasha Bedingfield, and Black Star by Radiohead,โ€ she tells me. โ€œI first started performing in May 2024, and since then I have performed at CorFest 2025, Swinterfest, and have supported Irish folk musicians in Salisbury including The Henry Girls, Daoirรญ Farrell, and Tim Eady and Mike McGoldrick. I am inspired by a mix of artists/musicians and genres such as folk, indie, pop, indie rock, and jazz.โ€

Both of a similar age, M3G and Seren have worked together before, supporting each other, and after performing solo, promise to duet in a rare finale session. I canโ€™t wait, I advised MantonFest to book Meg a couple of years ago, but I believe this will be both their Devizes debuts. I hope you can join me in bringing these two sublime performers to town and really give them the warmest of Devizes welcomes, on the 24th April; put it in your diaries now!!

Facebook event thingy, here, let us know you’re coming. If you are coming, I promise not to sing myself. Oh, and give the Facebook page a follow too, for updates there.

Only The Brave Burn The Midnight Oil

Hurrah, at last! Only The Brave is the debut song from Burn The Midnight Oilโ€™s revised lineup; something Iโ€™ve been anticipating since watching them rehearse at Devizesโ€™ HK Studios, just before last yearโ€™s Awards. But if my expectations of a recording from this new Devizes based phenomenon was perched on the summit of the highest mountain, gaining a sneaky preview before its release on Friday (13th March) far from disappointed, in fact Iโ€™m now soaring above cloudsโ€ฆ.

I know pressing a CD is a financial risk for any upcoming band against bunging it on streaming platforms, but Iโ€™d urge them to go for it. In the relatively short time Burn The Midnight Oil have been gigging under this current format, theyโ€™ve become the kind of band youโ€™d see live and make haste for their merch stand in hope to return home grasping a piece of what you just experienced. Based on this first of a few singles coming out of Martin Spencerโ€™s Badger Set Studio in Potterne, a compilation album would be a real keepsake.

Itโ€™s hasty and gearing, a rich and refreshing design on a timeless formula; the folk-rock-blues combo conveying enduring, moreish and matured pop, with that driving beat, with that irresistible rolling guitar riff, and with the smooth-as-velvet female vocals soothing a biting narrative. Causal listening itโ€™s feelgood, but in depth itโ€™s fighting against the odds and rising above adversities.

Itโ€™s the song for the comeback scene of an epic movie. Youโ€™re on the edge of your seat, identifying with the character, either relating your own experiences, or more simply distinguishing their plight is their drive, but you cannot sympathise, because like Tina Turner, Gloria Gaynor, or Natasha Bedingfield, sheโ€™s weaponised it, risen above it regardless, and taken control of her own destiny; Alanis Morissette of Devizes.

Yet the most marvellous thing about Only the Brave is, Chrissy โ€œSteenโ€ Chapman can equally hold the vocal power of any of the aforementioned female big hitters, kick the meaning behind the song into touch, and her backing band accompanies her with such tight precision, itโ€™s something to behold. In essence, it has the perfect combination for the memorable and relevant tune you wonโ€™t mind having stuck in your head!

I cannot wait to hear the others, but for now, pre-save this beauty HERE. Find them rootin and tootin their thing live by following them on Facebook, HERE.ย Attend CapFest as seen below, for their next Devizes show.

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Live Music in Trowbridge; Still Pumping! The Sunnies, Between The Lines and Meg at The Pump

Images from KieshaFilms

I confess my motivation to venture out this winter stagnated, like sludge in a drain. Akin to a hedgehog, I poked my twitching rhinarium out of my nest last Sunday, a mere pint down the Gate with Jon Amor. But what better way to cure my hibernation than a refreshing night at Trowbridgeโ€™s tโ€™rrific grassroots venue, The Pump?

Chatting with Kieran online prior I hoped Melkshamโ€™s upcoming band Between The Lines were on his radar, cos theyโ€™re blooming amazing, to which he replied coincidently they were playing there on Saturday with The Sunnies headlining and Meg also in support. How I missed listing this gig, being I run an event guide, remains a mystery, but it didnโ€™t mean I should miss it physically; viva Trow Vegas!ย 

Okay, itโ€™s labelled a โ€œstudent night,โ€ organised by small Trowbridge label Nova Sounds Records; Iโ€™m young at heart and Gen Z donโ€™t age discriminate. Theyโ€™re there to party, support local acts they adore, none too fussed if a codger hides in the background. Bands invigoratingly fresh and hopeful, supplying a new scene with zest, but also a timeless punk lore of affordable and friendly gigs, which makes The Pump function successfully, bucking a tragic proneness era of grassroots venue closures.ย ย 

Nick Harper comes to The Pump this Friday, Jah Wobble did a DJ set at the beginning of the month. These events are bound to sell well. What is more amazing is The Pump will sell out staging three young local acts, and their ethos trends on this. While other music venues strive to host the big names of now and yesteryear, The Pump stages the future ones, with triumphant pride. Itโ€™s the most modest and humble place where dreams come true.  

All three acts have presented their wares here before, and been subjects to Kieranโ€™s Future Sound of Trowbridge project. Now they return in the present tense. I noticed in both Meg and Between The Lines, a vitalised sense of confidence in their breathtaking performances. One could rightfully mark this โ€œpractice makes perfect.โ€ However, after congratulating them, I pondered if playing at The Pump, rather than the other places I last saw them, was also an element making them feel at ease. Describing The Pump like a sacred home, they unanimously agreed it did, and ultimately, how utterly fantastic is that in a largely rural area where most venues are pubs they cannot either play or invite their fanbase?!

Images from KieshaFilms

As for The Sunnies headlining, I whisked into the end of their set at Bradford Roots Festival some years ago, but have never had the pleasure of witnessing them at full steam. And they were too, totally on fire. If youโ€™re Devizes based itโ€™s best to dub them Melkhamโ€™s answer to Nothing Rhymes With Orange, as both formed as school bands based around a similar time, and both caused a phenomenon in their respective towns. If youโ€™re Melksham based, youโ€™ll know, The Sunnies have a loyal teen fanbase, and frontman Jarret Brown loves nothing more than to leap offstage and join them! Youโ€™ll also be aware just why they rouse a crowd into a frenzy of joy.

They came out all guns firing, all fiery indie-punk pride, flavoured agreeably with soulful basslines breathing universally acceptable pop vibes. Yet initially it was when they chilled it with ballads of youthful desires I began to consider they were at their best. This is the opposite to the usual indie-punk band, which tends to thrive on the uptempo. Though I had to consider they like to warm up, because the finale saw them turning up the heat once more, sparks flew and encore demanded.

They played their breakthrough song of three years ago, Veridity, with equal gusto as some new tunes, which, returning to my point about these bands feeling comfy here with their fanbase, they pleaded for feedback and were welcomed rapturously. 

Images from KieshaFilms

It helps everyone greatly to be comfy, ergo, if you want to see these young bands at their best, here is where to do it. Between the Lines was the perfect example; loved their set at Swindon Shuffle, if they came across understandably nervy. Slightly younger than the Sunnies they live in their shadow across Melksham, but elusive manly dominance is filtered by the most wonderful female singer and bassist, Belle. Itโ€™s breezier, subtle grunge with an acceptable alt-rock tinge, progressing nicely, and a pleasure to hear, especially their originals. Man, they do a sublime version of Tears for Fearsโ€™ Mad World though, and in this and other covers project a timeless essence of classic rock in their performances.

And what a brilliant performance it was, tricky to rise after Chippenhamโ€™s soloist M3G, with her unique heavenly acoustic style, her songs so personal you can see the claw reaching out to clutch your heartstrings. We love M3G here at Devizine, and as she played through three new songs she has worked with Phil Cooper on, I became eager to review them. Again, she weaved the crowd with audience participation, something she mayโ€™ve shied away from previously.ย 

Images from KieshaFilms

It was a pleasure to see both these supporting acts honing their style and abilities, in such an apt and welcoming place,with the bonus of finally appreciating the might of the Sunnies. If they all cut their teeth at Neeldโ€™s Take the Stage, they thrive here at The Pump. And you need to be there to witness them.

Iโ€™m not easy to please, grumpy old sausage that I am, yet twas a great night, but this was just another day at the office for them there lovelies at The Pump! I didnโ€™t meet Simon from Sketchbook Records, which I had hoped to do. I was informed he had a blinder on Friday hosting an event there, and thereโ€™s the thing; from their acoustic nights relished in the Village Pump folk roots of yore, to the Bar-Stewards Sons of Val Doonican and the metal hardcore of Broken Lungs, Avicide and Dead Society next month, thereโ€™s something for you at The Pump, see here.ย 

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Devizes Issues Wants You!

Dubiously biased and ruled with an iron fist, the mighty admin of the once popular Devizes Facebook group, Devizes Issues, is using the iconic Greatโ€ฆ

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Lady Nade; Sober!

Dry January, anyone? Well, Lady Nade just plunged into an outdoor 4ยฐC eucalyptus sauna for a social media reel. But whilst I’d require a stiffโ€ฆ

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Thieves Plan Unplugged Gig at Brokerswood

We don’t like many thieves here at Devizine, but we do love Thieves the band! Well, those Thieves have an interesting next gig it’s worthwhile mentioningโ€ฆ..

The first time I saw these Thieves it was a paradox of coincidences. I was hiding in the back of the Wild & Wooley room of Bradford Roots Festival at The Wiltshire Music Centre, and I was suitably wowed by their Americana/UK folk harmonies. I likened them to The Lost Trades at the time, and told the person next to me, only to realise it was Phil Cooper, one third of the Lost Trades! I then proceeded to vocalise my observation that the guy on the banjo looked uncannily like soloist Adam Woodhouse, only for Phil to sigh, โ€œit is Adam Woodhouse!โ€ Should have gone to Specsavers.

Since, the collective of Adam with Rory Coleman-Smith, Jo Deacon and Matt Hughes have gone from strength to strength, regularly gigging, you might have seen them; consider yourself lucky. They gained me enormous kudos when they played so beautifully at Rowdefest last year, it was uplifting and toe-tapping goodness. Oh, and, we fondly reviewed their debut EP.

They’reย  excited to announce a headline appearance at Brokerswood’s Tin Church, near Westbury, on the 28th February, with support from the amazing Feral Beryl. Though the Thieves explained, โ€œwe were lucky enough to perform in this wonderful venue last year as a supporting act,โ€ it’s the first I’ve heard of a gig there, ‘cos no one tells me nuthin’, but I do recall sitting with the kids on the miniature train!

As an outdoor pursuit area, Brokerswood has been a popular attraction for families and campers since 1968, now in an effort to preserve the land, it’s converted into a holiday park. 

With no electricity, The Tin Church is a beautifully unique venue where the musicians are lit solely by candlelight and the original paraffin lamps and perform completely unplugged, taking advantage of the wonderful acoustics of the space. The band say, โ€œitโ€™s an experience like no other and an evening of music not to be missed!โ€

Sounds good to me; who needs electricity when youโ€™ve got beautiful music?! Priced at ยฃ18, it gets even better because it includes canapรฉs, with tickets available from The Cheese & Gain website. But, if you happen to miss this, as it’s a busy weekend what with The Festival of Winter Ales in Devizes and much more, Thieves will be playing this spring festival in March at Trowbridge Town Hall.

Thieves at The Tin Church, Brokerswood

Devizes Sammi Evans in the Shadow of a Debut Single

Being a singer in a tribute or covers band is nerve-wracking. Though tributes can hide behind a mask, a cover band frontperson can be reassured only by the notion that friends are backing them; blame the drummer! But a soloist, singing their mind acoustically is in another ballpark. Stripped back, alone, exposing your innermost thoughts, desires or even personal issues to an audience takes some bottle. It’s a test of courage for the most egotistical, the mental equivalent of standing naked. Yet a majority of those who do, I find, are actually modest and reserved.

In an interview with Peggy-Sue Ford last year, Aberystwyth born now Devizes-based singer-songwriter, Sammi Evans, expressed both her excitement and terror at playing live on the show, opened up about her troubled childhood, ADHD, and being a self-certified โ€œscatter-brain,โ€ and in doing so created one of the most interesting and touching of Peggy’s Don’t Stop The Music shows on Swindon 105.5.ย 

The last time I met Sammi she was showing me the artwork of her upcoming debut single, explaining how the purple background and gothic font gave it a sense of corporate identity, as well, holding her phone with a subtle tremble, telling me how anxious she was about releasing it. That single, The Shadow, came out a couple of days ago, and thus, Sammi has traversed the local open mic nights, jams at the Southgate, and pub gig circuit, to a recording artist; that thought alone would goosebump the least nervous!

The song’s subject reflects this anxiety, it drags you into a dark closet, and hauntingly honest, questions the listener if they experience similar ghostly fears. Sammiโ€™s vocals are academia aesthetic, rich with a focused ethereal and melancholic soundscape. But it is through an impressive arrangement by Martin Spencer of Potterne’s Badger Set studio, which adds to the other-worldly ambience, with a tinkering piano breathing a touch of gothic horror film score, even subtle classical crossover about the otherwise poignant acoustic guitar marvel.ย 

Hey look, Iโ€™ve been to art college and know about light and shadow. If the shadow depicted in this song is metaphorically actualising foreboding as shadows and monsters lurking within them, the quality of the song contravenes its subject, upon its release. It might have felt that way in Sammiโ€™s mind at the time of writing it, but releasing it mightโ€™ve been that face your fear moment of diving off the top board into the pool. And now itโ€™s out there, perhaps more art for artโ€™s sake and prosperity than fame and fortune, she should consider it an exhilaration of accomplishment, because it’s really rather wonderful.

It should then act as the opposite to shadow. This debut single is a light source, beaming directly above Sammi Evans, which casts only a minimal shadow at her footprint, if at all, and, I hope, reduces any seeds of doubt that she can write thought-provoking lyrics and compose them into songs with illuminating results. I look forward to hearing more, Sammi! x

Listen to The Shadow HERE

Peter Gabriel to Release Live at Womad Album

Peter Gabriel – โ€˜Live At WOMAD 1982โ€™ will be released on 8th May 2026. It was a simple idea; to create a festival out of all the brilliant music and art made all over the world, stuff made outside of the mainstream โ€“ music that wasnโ€™t getting on the radio and was even harder to find in record storesโ€ฆ

The very first WOMAD Festival took place at the 240-acre Bath and West Showground, Somerset over the weekend of 16โ€“18 July, 1982. With the dream โ€˜not to sprinkle world music around a rock festival, but to prove that these great artists could be headliners in their own rightโ€™,ย the three days and five stages played host to 60 bands from over 20 countries; a line-up that included The Drummers of Burundi, Pigbag, Salsa de Hoy, Simple Minds, Musicians of the Nile, Echo and the Bunnymen, Prince Nico Mbarga, Rip, Rig and Panic, The Beat and many more.

โ€œI remember this gig well,โ€ says Peter Gabriel. โ€œWe played a mix of old and brand-new material. I would normally be very nervous about playing some of this stuff for the first time, however my mind was very preoccupied with the running of our very first WOMAD festival and the potential financial disaster that it was heading towards.

Because WOMAD was unique in its focus on music and art from around the world, and mixing it up with rock and jazz, no-one knew how many people might turn up and we had seriously overestimated our appeal. But those that had decided to check out WOMAD and its weird and wonderful lineup were open-minded, bold and curious – a great audience.

It was a landmark and edgy gig for me both personally and musically and brings back lots of memories.โ€

Across the three days โ€˜an evening concert seriesโ€™ took place in the Showering Pavilion on the festival site. On the Friday night that concert featured Tian Jin (a song and dance troupe from China), Simple Minds and, with a โ€˜special festival set of non-album materialโ€™, Peter Gabriel.

Live at WOMAD 1982 is a recording of that Friday night concert. The non-album material in question are seven of the eight songs that would make up the album Peter Gabriel 4. An album that wouldnโ€™t be released for a further two months.

On-stage, Peter is joined by David Rhodes (guitar), John Giblin (bass), Larry Fast (synthesisers). Jerry Marotta (drums), Peter Hammill (vocals) and โ€œthe wonderful Bristol-based drum and dance group,โ€ Ekomรฉ (drums, percussion).

โ€œWe wanted to show that wherever you were born, whatever colour or language, whatever religious or sexual persuasion, powerful passionate and joyful work would have a warm welcome in WOMAD.

At the beginning, most music industry professionals told us that we had no chance of making this dream work, we had all the wonderful naรฏve misguided optimism of the young, and were convinced that we would prove all the cynics wrong. However, at the end of the first festival, it was clear we had an artistic success, but not a financial oneโ€ฆ but thatโ€™s for another story.โ€

Peter Gabrielโ€™sย Live a WOMAD 1982ย takes us back to not only the birth of a festival โ€“ one that has now hosted more than 160 editions in 27 countries – but also to the premiere of an album with songs, like The Rhythm of the Heat, San Jacinto and Shock the Monkey, that have become central to the Gabriel canon. More than just a live album,ย Live at WOMAD 1982ย is a pivotal moment, available now for the very first time as a double LP 180g black vinyl, in gatefold jacket with Side D etching and high-res download code, or a single CD in mini-vinyl style gatefold packaging.

Sketchbook Records Release Chasing Dolls EP

Out of my comfort zone on this one; being aging punk-ish, emo is a subgenre post my better days. Though the ever-reliable Wikipedia suggests, as a term, it was coined in the late eighties. It either travelled leisurely by airship across the pond, or Iโ€™ve had my head up my arseโ€ฆ.

If Iโ€™m probably best left in a dark corner, crying about my lack of knowledge on the subject, that creates many reasons for me not to like Sketchbook Records latest cassette or digital download release, which is an EP by Chasing Dolls. It begs me to don my flatcap and yell red-faced at youngsters about the volume of this noise, and many other age-defining protestations, but they can all be cancelled out by the more straightforward observation, it absolutely rocks!

My adventures with hardcore punk, blowing eardrums to bands like The Dead Kennedys, Black Flag, Bad Brains and Butthole Surfers was adolescent and relatively short-lived. Yet if emo is a shortening for โ€œemotive,โ€ Iโ€™d squabble that all music should evoke emotion, otherwise itโ€™s elevator muzak.

The thrash of hardcore debatably constitutes the least emotional genre of pop, only championed perhaps, by techno. Perhaps emo adds the element back into the rock melting pot. In which case, how does it differ from goth or grunge, for theyโ€™re both filled with emotion? These Chasing Dolls songs are massively better composed, with the rising and falling of emotion, than the aforementioned hardcore bands of yore, by a country mile, yet equal to the goth and grunge subgenres Iโ€™ve acquired to appreciate through the local bands producing it, like I See Orange and The Belladonna Treatment.

But this EP is growing on me as fast as bacteria multiplies; Iโ€™d be more complimentary if I reviewed this in a week, but I wanted to get it out there. From first impressions, its raw energy, a sublime cry of woe, and it fits.  

What also fascinates me about Chasing Dolls, is that thereโ€™s no uniform, each tune holds its own, and differs in style and ambience. Cobweb and Blood Moon are the standout tunes, and with a slash make the title of the album. Cobweb comes in first with heavy guitar after a delicately placed riff, as Iโ€™d expect, and itโ€™s certainly rinsed with emotion, as described by its pigeonhole.

Blood Moon is more me, of greater ambience and mood, it drifts in layers like oil finding its way down a congregated surface. The howls of emotion, the sublimely placed breaks. Iโ€™m none too fussed by pigeonholing, if only to describe something to you, if they say itโ€™s emo, then Iโ€™m converted, feels like a natural punk progression through gothic and grunge. I may not be an expert on this, but I know what I like.

Step on My Shadow has a sprinkle of more universal indie-pop with an irresistible drum roll, and in part Iโ€™d imagine our favourite lads Nothing Rhymes With Orange might feel comfortable putting something out like this. Then thereโ€™s this live track, yet if Closest Thing to Heaven sounds like theyโ€™re going to get slushy, Hell is in brackets to ensure thereโ€™s controversy in the romantic topic, and it comes over a smidgen shoegaze. Love, it hurts most punk genres, emo takes no exceptions, in fact, going on this, exemplifies the anguish and pain of it, rolls it into a dramatic outpouring without boundaries, and for this, I now love Chasing Dolls.

Chasing Dolls are Hayden, Munch, Theo, Will and Jasmin, and long may they continue. As with many upcoming bands, thereโ€™s a notion in the ether theyโ€™ve yet to make that magnum opus, but this EP suggests theyโ€™re aching for it and will accomplish something progressively superior. For now though, Cobweb/Blood Moon throws everything you wanted to hate in your face, and turns it into something thorough, bold and challenging; top marks for that.

Thank you Sketchbook Records, you are opening an old manโ€™s eyes to emerging local artists with an alternative edge, and now Iโ€™m hooked! Oh, and you can find Chasing Dolls at Swinterfest, headlining the Saturday (31st Jan) at The Castle.

2025 on Devizine; Review of the Year; Part 1, Jan-June

If past years seem to be racing by me on roller-skates, now theyโ€™re in Formula 1 cars! 2025, in a word, was โ€œaverage,โ€ though the Devizine annual stats fell for a second year, at 6% lower than 2024; you lot still here?!

Iโ€™m not concerned about that, you filthy traitors; youโ€™ve been digesting the clickbait of that Gazelle & Herod again, havenโ€™t you?!! Ah, truth is I have been staying home, hibernating a lot like a lightweight couch potato; probably an age thing, most likely a financial thing too; weโ€™ve got hyperinflation to make Robert Mugabe envious. But we keep a stiff upper lip as the world plummets into chaos, our little corner of it remains a pretty nice place to live (if a bit Tory,) where you can block pavements with hoarding or nick a cardboard sheep from a church and get away with it. None of which we are here to highlight, we focus on the best bits, and slag off the worst with a sprinkling of satire; if you donโ€™t like it, you know where to go!

Hits took a hit because I bit my tongue on many local political or social issues this year, to concentrate more on arts and entertainment, but folk love a good shit stir rather than being told about some talented locals doing good. Plus, Iโ€™m sick to the back teeth with any dependence on Facebook shares, itโ€™s become a toxic playground for so-called adults and AI bots pretending to be human to boost propaganda. I think Iโ€™m going to be one of those smiling insanely old men, content to feed the ducks in the park, rather than ranting at anyone younger than me within range, but Iโ€™ve the right to change my mind on this! 

They also took a hit because Iโ€™ve been actively engaged in two fantastic major events, RowdeFest and The Wiltshire Music Awards. The latter in particular used up much of my time, but hey, I think they were worth it. The Awards really brought together a wealth of people involved in the Wiltshire music scene, caused me to wear a suit, and we hope to build on this with future years.

The other contributing factor to the downfall of hits to the website might have been me writing a new book, something I rarely get the time for, but was certain I wanted it published by Christmas. I made that deadline and Murder at the Scribbling Horse is officially out; you read it yet? No, didn’t think so!

But lots more happened in 2025, and those we featured are briefed below; we couldโ€™ve done more but I think we put out a lot of content; you have to give me some time to play pointless block puzzle games on my phone. Thank you to all our contributors, Ian, Andy, Lois and the few guest writers who have submitted this year. We always need more writers to make this as comprehensive as possible; it is about as flexible as it can possibly be, you can be a fruitcake, we donโ€™t mind, so do get in touch if you can help.

Please continue to support us, we thank you all for your dedication to Devizine; hereโ€™s to 2026; try best to avoid the fascist division, millionaires triggered by being disallowed to rip wild animals to death, the US or Russian bombs heading our way, the complete disregard for funding environmental projects while they spend billions fighting for the last scraps of oil, any world leader kidnapping, painting roundabouts, and the usage of anti-terror laws to arrest pensioners peacefully campaigning against genocide.

Just follow us instead, enjoying a pint in a pub and listening to live music, played by real people, focus on youth projects rather than fables of hooliganism, focus on talented individuals doing good rather than bitter clickbait and national headlines, and be here, in the warm and truth, with Devizine; we tell it like it is, and donโ€™t purvey bullshit!              

January

Just as this year starts with a review of the last, so did 2025, but not before I took a visit to the Swindon Story Shed. Forestry England invited dog walkers to Nightingale Wood, apparently to celebrate Walk Your Dog Month; surely every month is walk your dog month?! The second feature film for director Keith Wilhelm Kopp and writer Laurence Guy, First Christmas entered development. We covered how My Dadโ€™s Bigger Than Your Dad Festival raised ยฃ11,500 for Prospect Hospice, and thereโ€™s moreโ€ฆ. 

Jamsters began at Devizes Southgate, an initiative to provide a Friday night platform for loose groupings and associations created at their regular jam sessions each Wednesday. We announced The Beat were to headline Devizes Scooter Rally, that Nick Hodgson formerly of the Kaiser Chiefsโ€™ new band, Everyone Says Hi had an instore at Marlboroughโ€™s Sound Knowledge, and we unfortunately said goodbye to the now disbanded People Like Us; sorely missed.

The original line up of People Like Us

We had new singles from Nothing Rhymes With Orange, a new album from Illingworth, and fuller sessions from Kaya Street. Andy reviewed the first Devizes International Blues Festival, Ian covered Jerusalem at the Mission Theatre, and Veronicaโ€™s Room at The Wharf Theatre.

We previewed OakFest at the Royal Oak in Pewsey, La Belle Hรฉlรจne, White Horse Operaโ€™s Debut at The Wharf Theatre, Devizes Musical Theatreโ€™s Beauty & The Beast, Henge at The Cheese & Grain, and Bradford-on-Avon Green Man Festival which unfortunately this year is in jeopardy, and we welcomed Caffe Vialottie to Devizes, our most popular article of the year.

Februaryย 

It may be topical now, but weโ€™ve always been supporting the hunting ban, and in February reported how Beaufort Hunters attacked Wiltshire Hunt Sabsโ€™ drone. We sadly confirmed Devizes Street Festival was cancelled for the second year in a row, and The Emporium in Devizes was to close, but Devizes would get a new youth centre.

Previews included, Marlborough School of Languagesโ€™ Summer Fiesta, Jazz Sabbath at the Corn Exchange. We announced The Brand New Heavies were to headline Minety, tickets for DOCAโ€™s Winter Ales were running out, and that I was to organise the music for Rowdefest in May, probably my favourite memory of 2025.

We featured Melkshamโ€™s teen band Between the Lines, reviewed JP Oldfieldโ€™s debut EP Bouffon, Jamie Hawkinsโ€™ short film Teeth, and new singles from I See Orange and Sam Bishop. Swinterfest broke me out of my hibernation, and I also got out to see the fantastic Static Moves at the Three Crowns, plus Cephidโ€™s Sparks in the Darkness at The Rondo, which was mindblowing!

March

We announced that Devizes auctioneers Henry Aldridge & Son were relocating to the Old Emporium, Soupchick was to take over The Hillworth Park Cafe, that after the fire in Northgate Street Devizes Kebab Van successfully relocated to Folly  Road, that Devizes was to have a new festival, Park Farm Festival, and of course the very first Wiltshire Music Awards.

We featured the Belladonna Treatment, had a wonderful local reflection on the Trump & Zelenskiy meeting from a Ukrainian living in Wiltshire, and it was one of my all-time favourite interviews with eighties legend Owen Paul ahead of a Devizes gig.

We reviewed The Killer & The Catalyst, Devizes author Dave McKennaโ€™s novelette, Geckoโ€™s new album, and singles by Chloe Hepburn and George Wilding. 

Previewed Devizes Arts Festival, Exchange Comedy in Devizes, Swindon Palestine Solidarityโ€™s Charity Iftar, CUDSโ€™ Devizes Town Litter Pick for GB Spring Clean, and Hells Bells AC/DC tribute coming to Devizes! We listed the results of Salisbury Music Awards.

I managed to make it out to see The Devilโ€™s Doorbell and JP Oldfield at the Cellar Bar, Ruby Darbyshire at the Southgate, and Cracked Machine with Tom Harris in support, too. Ian gave us Blood Brothers at The Mission Theatre and Flatpack at The Rondo, and Pip Aldridge reviewed our Fulltone Orchestra at Tewkesbury Abbey.

I ranted on the state of the roads, and for fun ran a Take Our Wiltshire Pothole or Moon Crater Quiz Challenge!!

April

Ah, All Fools Day, a golden opportunity for us, in which last year we told the fib that funk godfather George Clinton was exiled to the Wiltshire village of Urchfont, created funk music there and it was covered up by their parish council! You might assume it was hardly viable, but some fell for it, and messaged in their outraged reports of โ€œfake news!โ€ 

We looked into DOCAโ€™s new youth initiative Yea Devizes, and while we published our usual extensive list of Easter holiday activities, we also previewed DOCAโ€™s Junk Street drumming workshop.

I visited The Hillworth Park Cafe, where Soupchick took over, hailed Devizes DJ Greg Spencer, the creator of Palooza house nights, who made the prestigious bill of Fatboy Slimโ€™s All Back to Minehead festival, and reviewed the now sadly defunct No Alarms No Devizes playing at the Three Crowns. Discovered Fran Daisy at Swindonโ€™s Plough, and Henge at the Cheese & Grain was a high contender for my gig of the year; out of this world!

We had a guest review from Melissa Loveday on Devizes Music Academyโ€™s Something About Jamie, which though Iโ€™m sorry to have missed, I did catch them playing it out at FullTone Festival in the summer. I did attend Devizes Musical Theatreโ€™s Beauty & the Beast at Dauntseyโ€™s School and the opening of Un/Common People, Folk Culture in Wessex, a fascinating exhibition at Wiltshire Museum.

Everybody’s Talking About Jamie

Reviewed Hannah Rose Plattโ€™s album Fragile Creatures, probably the best album we covered last year. The website for Wiltshire Music Awards went live and people held on to cast their votes in May. 

We exposed Reform candidate Calne Violette Simpson for her Facebook profile picture showing her hunting antelope in South Africa, and Devizes South Conservative candidate Sarah Batchelor, who committed election fraud, up and left with her tail between her legs and almost running Bishops Canningโ€™s Crown into the ground. Thankfully it seems the new owners are turning it around and recreating the village hub it once was. 

May

I was honoured and delighted to organise the music for our village fete, which has in the last few years been run by a lovely independent committee, safe from a questionable parish council. It was a wonderful sunny day and the highlight of my year. I called in some favours and presented an amazing lineup for a free fete, featuring, in order of appearance, The Jubilee Morris Dancers, Andrew Hurst who brought bassist Lucianne Worthy with him, Talk in Code, The Sarah C Ryan Band, Thieves, and Burn The Midnight Oil. Being it was the last day of the month, I didnโ€™t write about it until June.

I paid a Sunday afternoon visit to Devizes amazing record shop Vinyl Realm, when Deadlight Dance were attacked by wasps and still managed an amazing unplugged acoustic set. Ben Niamor reviewed Jake Martin at Swindonโ€™s Castle with SOP, and Ian gave us his views on Sweeney Todd at St. Augustineโ€™s Catholic College in Trowbridge, and the Diary of Anne Frank at The Wharf Theatre in Devizes, which was so good I had to go myself. Lois covered newcomers Kingston Mediaโ€™s Bands at the Bridge in Horton.

I previewed the Bradford-on-Avon Live Music Festival, despite it clashing with our Rowdefest! Also, Ruby Darbyshire who performed at Silverwood Schoolโ€™s open evening. Andy provided a preview of Chippenham Folk Festival, and Lois provided us with previews of Australian Folk singer Ernest Aines at Swindonโ€™s Deanery Theatre and David Olusoga at the Cheese & Grain.

Announced the opening of voting for Wiltshire Music Awards, that Devizes-based The Big Sound Choir was to perform with Aled Jones at St Georgeโ€™s in Bristol, and that Bird is The Word were taking over music organisation at Bradford-on-Avonโ€™s Boathouse.

We featured how Lucas Hardy was collaborating with Rosie Jay, and Fromeโ€™s James Hollingsworth, who was bringing his solo recreation of Pink Floydโ€™s Wish You Were Here album to the Devizes Southgate and elsewhere, and reviewed his album with Griffiths, Lost in the Winds of Time.   

I reviewed Clock Radioโ€™s album Turfing out the Maniacs, Ruzz Guitarโ€™s Between Two Worlds album, Playing Solitaire; Phil Cooperโ€™s first solo album for five years, Thievesโ€™ debut EP, a new single from George Wilding, and one from Auralcandy featuring vocals from Sienna Wileman. A feature of a Melksham marketing expert launching AI training courses was met with controversy, yeah, I get that!

June

If we were all busy with the Devizes Arts Festival, we were previwing summer events like a new festival for Devizes, Park Farm, clashing with an amazing day at the Three Crowns for an air ambulance fundraiser, and I finalyy got over my hangover and ego, and gave coverage of Rowdefest; highlight of my year!ย 

Andy reviewed White Horse Operaโ€™s Cosi Fan Tutte and The Lost Trades at the Piggybank, Ian did The Mikado at the Mission, The Taming of the Shrew at the Rondo, and of course we all did our bit for the Devizes Arts Festival. Andy also covered an extensive weekend when The Lions were on the Green in Devizes, we had Crammer Watch Day too, and Devizes Arts Festival did a fringe gig at the British Lion; summer lovinโ€™. The highlight of this had to be Whereโ€™s the Cat, the Wharf Theatreโ€™s writing groupโ€™s hilarious reenactment of the Moonrakers fable at the Crammer, which I felt obliged to cover too. 

Eddie and I were guests on Peggy-Sueโ€™s Donโ€™t Stop the Music show on Swindon 105.5, chatting about the awards. We met Henry the chocolate duck raising funds for cystic fibrosis at HollyChocs, previewed Supergrass headlining Frome Festival, a genderqueered Shakespearean performance at Bathโ€™s Rondo, and Swindon Palestine Solidarity events. Lois did Idles at Bristolโ€™s Block Party. 

I reviewed The Hotcakes of Wildfireโ€™s album Shoes & Acid, ranted on vocal minorities triggered by events of cultural diversity, and did a No Surprises column promising to return the feature, but promises are made to be broken! Thereโ€™s simply too much to whinge about, and for my health, I need to see the glass half-full.

Bands at The Bridge

Thatโ€™s all for now, folks. Do not fear, itโ€™s still summer in our minds, and weโ€™ll kick off in July for the second part. I know, our goldfish attention spans cannot take in a whole year in one article, what with so much brilliant stuff which happened over the year, so come back when Iโ€™ve officially emptied the Quality Street tin and completed the last half of this review of 2025; but I must say, I think the first half was better!!

For Now, Anyway; Gus White’s Debut Album

Featured Image: Barbora Mrazkova

My apologies, for Marlboroughโ€™s singer-songwriter Gus Whiteโ€™s debut album For Now, Anyway has been sitting on the backburner, and itโ€™s more than worth a quick mentionโ€ฆ..

Gus White is a respected folk musician, record producer, festival organiser, and community maker with a deep love for the rooted and the heartfelt. His production credits are the string that ties together an emerging scene that refers to itself as Third Wave Folk, involving a collective of artists which record with Gus at his Wiltshire studio. This includes microtonal and genre-fluid rising-star Maddie Ashman, folk singer Minna, and UK folk-charting artist Ann Liu Cannon. The latter is our connection, fondly reviewing Ann Liuโ€™s album Clever Rabbits back in July.ย 

Though, in the short wintery month this album has been simmering itโ€™s made number twenty-six on the Official Folk Album Charts, making Gus rightfully charting too. An initial listen from yours truly and I can understand why. I do declare it as instant as Douwe Egbertsโ€™ Pure Gold, only in rapture rather than coffee! Itโ€™s chock full of cool vibes, that breezy feelgood Sunday morning acoustic which is too darn soothing itโ€™s impossible to criticise. As for Gusโ€™s barista skills, Iโ€™ve no confirmation, but going on his music, I could take a wild guess heโ€™s a tea fellow. 

Eleven songs strong, put the kettle on yourself, and allow Gus to get on doing his sublime thing! Thereโ€™s no rise and fall, the melodies flow like the Iguazu Falls. If I pick out individual elements into Gusโ€™s melting pot, like the doo-wop-ish structure of middle-track Terrible Things, the bluesy guitar picking in the following song, Head Held High, or jazz drum percolate in Please, Forgive Me, theyโ€™re all so subtly placed. If Gus defines it Third Wave Folk, thatโ€™s what it is; a composition borrowing from Americana and English folk, but neither whole; a gorgeous cherrypick from both. It has the universal folk-rock feel of Goerge Harrison and Cat Stevens, and is equally as uplifting.

Though some themes are negative, the overall ambience is pessimistic; if youโ€™ve a bad day, so what? Watch the rain trickle down the window outside with that lukewarm brew in a slightly stained chipped mug, listen to this and contemplate, life goes on, youโ€™re rising above it.

If the penultimate song on For Now, Anyway, After So Long is rinsed in a dejected romantic memory, Gus carries it as skilled as Tom Petty, and the final song Still Learning lifts the spirit one final time like a contemporary Dr Hook, with that beguiling cheerful chorus. It departs your ears leaving you aching for more; a beautifully and skilled production from someone who comes across as a modest genius tea-drinker. Gus produced, mixed and mastered For Now, Anyway, a defining statement as a songwriter and a prime example of his meticulous production work. 

Image: Jeremey Prout

Authentic too; recorded in 2021, with a live band of friends and local musicians, Gus White approached this stunning album like any other project, stating he was โ€œtrying to capture the magic, and the essence, of the song in a single live performance, in the way real instruments and human voices blend when left to their own devices.โ€

Gus, also a member of folk band Dead Pages, is co-organiser of Late Spring Folk Festival, which celebrated its third iteration this summer at Dummer Down Brewery near Micheldever, since forming at a Wiltshire pub venue. This yearโ€™s is Saturday 23rd May. If he showcases this album there itโ€™s worth the reasonable ticket stub alone.

For Now, Anyway is out now on Man Made Tigers. Available to buy on CD & vinyl exclusively from Sound Knowledge in Marlborough and is available across streaming platforms. Donโ€™t procrastinate like me, as Iโ€™m sorry I did now Iโ€™ve heard it.

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Rooks; New Single From M3G

Chippenham folk singer-songwriter, M3G (because she likes a backward โ€œEโ€) has a new single out tomorrow, Friday 19th December. Put your jingly bell cheesyโ€ฆ

by Darren Worrow

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Gus White Burbage’s Smithy Art Forgery with Ann Liu Cannon and Esmรฉ White

Words by Ollie MacKenzie.

Featured Image by Barbora Mrazkova.ย 

The creative process can be a winding, long, and often confusing journey. Seeing a project come to fruition from scrappy origin to a packaged, marketable, and well-rounded piece of work can feel daunting – or even impossible. It took Gus White six years of honing his production skills, amassing an arsenal of musical machinery, and developing a community of talented musicians to bring his album โ€˜For Now, Anywayโ€™ into existence….

At its core, itโ€™s a breakup album, which could feel strange to complete and release so far after the original โ€˜breakโ€™, but speaking to Gus it appears the space has allowed him to finish the album at a much more present and content time in his life. Heโ€™s settled into a different existence โ€“ heโ€™s in a new relationship, heโ€™s a dog owner, and has played a large role in building a thriving music scene across the venues, pubs, and houses of Wiltshire.

This brings us to the Smithy Art Forgery in Burbage, a kooky yet loveable cultural venue operating out of a 375-year-old house that currently operates as a jeweller. Located on the side of a quiet village road, itโ€™s adorned with nondescript street parking, burgers served off a BBQ, and vegetable curry to order made in the ownerโ€™s kitchen.ย 

Itโ€™s these types of places that are few and far between according to Gus โ€“ a true grassroots venue for musicians, a haven from playing dusty forgotten corners of pubs where the landlord and patrons donโ€™t even really want you there anyway. It was why it was there on the 14th of September that Gus hosted his album release party.

Taking place in the back garden of the venue, attendees were seated under a marquee packed with various sofas, stools, and garden furniture that faced onto an embankment where the stage was set. Copious instruments lay there waiting, tucked underneath an array of tarpaulin and teepees to shield them and the musicians from the bipolar weather conditions of the changing season.

The atmosphere was intimate โ€“ maybe fewer than 100 in attendance โ€“ but one that felt lively and far from empty. Friends of friends of friends made happy introductions and chats to one another, waiting for the music to start. Two support acts opened the day. First, a solo and entrancing guitar performance from Grace Elizabeth Harvey, followed by a sort of double act from Ann Liu Cannon and Esmรฉ White, the two swapping between lead vocal spots all the while backed by a mandolin player โ€“ the first of many off-kilter instruments to litter the performances.ย 

Then it was Gusโ€™s turn to play. The performance brought about the live, interactive feel of the album, with a high range of instruments on display โ€” trombones, sublime guitar passages, the double bass, a kazoo solo, and even a set of pots and pans, just to name a few. The music felt sonically based in the past, a careful homage to folk and rock formats from americana, country and indie, exhibiting a range of influence from the 50s all the way to the 70s. Despite its seemingly traditional backdrop, the performance was unmistakably modern, with the lyrics carrying the music firmly into the present. Packed with new-age irony and technological references, Gusโ€™s dry, irreverent humour was centre stage throughout the performance, both in the songs and in his preambles โ€” though this didnโ€™t disguise the sincerity of the music or the performer. Balanced amongst the tongue-in-cheek lyrics were very straight to the point personal accounts of his former relationship, that through their intense and biographical nature revealed a relatability that would be shrouded behind overt poeticism. Though typically robust and amusing, Gusโ€™s songwriting shows a capability of reaching into the elegiac also. The solo encore of โ€˜Josephineโ€™ makes the case for Gusโ€™s well-roundedness as a song smith; a poetry laden tribute to his partner that drew much of its effect from its earnestness and folk-style imagery.

Gus closed the concert with a rendition of โ€˜Please Forgive Meโ€™, a rousing finish that allowed each band member their moment to show off, before the crowd sung the concert to a finish. It felt an appropriate end, where Gus, the producer, allowed others to have their moment through his handiwork, sitting back and revelling in the fun of it all. For a set of songs about breaking up, Gus seemed married to the moment, an artist revealing himself at a perfect time to a welcoming group of friends and strangers alike.

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The Lost Trades & Half of One at The Hop, Swindon

One part of Swindon was in perfect harmony last night, and I donโ€™t mean the traffic circumnavigating the Magic Roundabout. Rather The Lost Trades were at the Hop in Old Town, honouring a postponed gig from Septemberโ€ฆ..

SoP Live, who run a regular Thursday night music club at The Castle, plenty of other gigs, and coordinate the Swindon Shuffle and Swinterfest, arranged this eveningโ€™s entertainment at The Hop, the largest of pubs on the Devizes Road area of Old Town with the perfect upstairs function room to turn into a temporary folk club.

A slight music appreciation collective gathered, seated and respectfully keen to value live music of this calibre. On previous occasions when the Lost Trades played here, organiser Ed Dyer explained, โ€œwere packed out,โ€ and factors of the lesser crowd were discussed; it couldโ€™ve been because it was rescheduled. While free pub gigs thrive equally to overpriced pop star concerts, add even the smallest price to less mainstream acts, as this gig did, sadly seems can reduce its attraction. What we all need to be mindful of is the safety net; dedicated and erudite promoters like SoP guarantee tried and tested acts, ergo paying a small ticket stub is worthwhile for a better class of live music than a pub throwing any old band in for peanuts. Ah, you get what you pay for, but to disregard this notion is to lose venues and promoters. The saddest thing is, that is happeningโ€ฆ.now. Support them, or become a skint Swifty, your choice.

Whilst Jamie R Hawkins and Phil Cooper of The Lost Trades are no strangers to playing a pub gig solo, the key to the Lost Trades works best at folk festivals and clubs, and arts centres. It is fantastic to think this local export is nationwide now, and judging on their performance last night, something Iโ€™ve not caught for what seems like an age, itโ€™s thoroughly deserved. Thereโ€™s a sense of elevation in their delivery of these soothing vocal harmonies, a consistent strive of improvement, which if it isnโ€™t at its peak now, the summit would be on an angelic level.

Such a while it has been, Tamsin Quin left the trio and has been replaced by Jess Vincent, and I was yet to see that working live, despite fondly mentioning their latest single, Float Me On Your River. As well as performing some other new songs, they opened with this, and notwithstanding Tamsin has a distinguishable voice, Jess makes the quintessential substitution, an exemplar to the ethos of The Lost Trades. Her wonderful vocal range and proficient percussion complement Phil and Jamieโ€™s expressions on equal terms as Tamsinโ€™s, and so The Lost Trades are once again at the top of their game.

And a sublime performance it was, but not before a support act new to me played a divine set of fiddle, guitar and occasional loop pedal folk covers. Half of One is a Swindon duo, fiddler Geoff Roberts and guitarist Neil Mercer, and theyโ€™ve played together in folk band SGO who recently disbanded, and who Iโ€™m well aware of, and dance band Cowshed Ceilidh Collective. We were treated to some gorgeous English folk pieces, others from the likes of Sam Sweeny, Show of Handsโ€™ Steve Knightly, and a wonderfully delivered Great War song for Remembrance I missed the name of and cannot find online! It was a spellbinding support, which couldโ€™ve been the headline for any folk club.

As folk, The Lost Trades have always stated itโ€™s โ€œmodern folk,โ€ and with electric guitars and some subject matter I see this, but thereโ€™s something uniquely captivating about them which makes it timeless and conjures images of The Carter Family. I may not have been lucky enough to have seen The Everley Brothers or Simon & Garfunkel, but The Lost Trades are vocal harmony perfection to me!

Available at Devizes Books, or message Devizine for a copy!

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Love is for Life (Not Only for Christmas Time) Says Hannah Collins

And so it begins, the build-up, the tension; come all ye faithful round yon virgins and three kings of orient are, spreading joy to the world while shepherds wash their socks and Batman smells. In which, in order to spread warm emotions of peace and unity for the one day, itโ€™s obligatory to rush around like headless chickens for two months, verbally abuse drivers in traffic jams, inevitably cause accidents because weโ€™re too consumed by what little Johnny wants this year to concentrate on our driving!

Or, how weโ€™re still hungover from the work-do where we accidentally got off with the agency temp in sales who puked down her blouse before half four, and Gary fancied her, and now heโ€™s going to be pissed with you. And ram B&M on black Friday, fight  to the death anyone who might grab the last Labubu doll, and Grannyโ€™s ditched us for some โ€œgentleman friend,โ€ whoโ€™s whisked her off to The Maldives, and well, if mum undercooks the pigs in blankets again Iโ€™m off down the pub, where did they put the batteries, and who lost the end to the bloody sellotape?!

A pastiche of the RSPCA slogan about puppies as pressies, Bristol-based vocalist, musician and producer, Hannah Collins has nailed it in her new Christmas song with a spin, Love is for Life (Not Only for Christmas Time.) The simple premise; if we can be nice to each other on Christmas Day, why canโ€™t we for the rest of the year? How smug, bar humbug, great song, though!!

For if it sounds like the basis of a bitter anti-Christmas punk song, itโ€™s subtle, ironically uplifting, and contains a simple piano riff with seasonal jingly bells.ย Released on the 28th of November, Hannah says, โ€œin a materialistic world, love is the greatest gift we can give.โ€

Produced and mixed by Tim Oliver (Sinead Oโ€™Connor/Robert Plant) at Peter Gabrielโ€™s Realworld Studios in Box, Wiltshire, featuring John Baggot (Massive Attack/Portishead/Robert Plant) on keys, and Eric Okafo on bass, it has a Motown lite sound and is reminiscent of a Mariah Carey singalongโ€ฆ..argh, Iโ€™m caught by the catchy hook, and Iโ€™m putting my decorations up now!!

It will be available to stream on all platforms from 28th November 2025. There will also be an original music video released on YouTube on 21st November, created by Olivia Kennedy from OK! Animations. 

Hannah is new to us, but tis said her, โ€œinquisitive mind, creative spirit and interest in philosophy are overarching themes in her work; a golden thread flowing through her art, which is particularly resonant with the message of peace and goodwill at Christmas.โ€ The press release asks, โ€œcan we keep the peace, love and charity going all year long, and not just at Christmas time?!โ€ Have they not heard of dry January, winters of discontent, and seasonal affective disorder, damn your spritely song, Hannah?!!

โ€œI will honour Christmas in my heart, and try to keep it all the year. I will live in the Past, the Present, and the Future. The Spirits of all Three shall strive within me. I will not shut out the lessons that they teach,โ€ Dickens wrote, โ€œfeel the magic in the atmosphere, I wonder why itโ€™s only this time of year,โ€ Hannah wrote similarly, and maybe her song has a lesson too, a seasonal catchy pop lesson I happen to love!

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Chatting With Burn The Midnight Oil

Itโ€™s nice to hear when our features attract attention. Salisburyโ€™s Radio Odstock ย picked up on our interview with Devizes band Burn the Midnight Oil and they gained air time, but the interview was published short of year ago now, and the band have had significant changes to the lineup and their style. So, I the time is nigh to poke my bulbous nose in and interrupt their rehearsal againโ€ฆ..

Formerly a trio, bassist Chris Lane remains with Chrissy Chapman up front,ย  but guitarist Andy Jacobs sadly passed away this year. โ€œAndy was an amazing musician and really helped carve out our initial sonic signature,โ€ Chrissy told me. โ€œWeโ€™ve always wanted to acknowledge his creative contributions, given that music ran through him like the letters in a stick of rock. However, for reasons I canโ€™t discuss out of respect for everyone involved, the band collectively decided that it was no longer suitable for Andy to remain involved. Weโ€™ve made every attempt to show him grace since that decision but there was a negative backlash. Regardless, we were all very sad to hear he passed away shortly after, and our sympathies remain with his family and loved ones. Weโ€™re committed to remembering him in the best light.โ€

โ€œThere was definitely concern about doing the songs justice after we parted ways with Andy,โ€ Chrissy continued. โ€œEventually, though, we made a conscious effort to develop a new sound that honoured the music while allowing John the creative freedom. The core of our sound now focuses on doing the  songs justice rather than trying to replicate what Andy originally brought to the table and embracing the natural evolution of our sound that draws from all of our influences.โ€

The Original Trio of Chrissy, Chris and Andy

John Lane joined as guitarist, but was making me a cuppa while I was chatting with  Ron Riordan, the new drummer. Theyโ€™ve both been instrumental in forging a new direction for the band, literally! John said of Andyโ€™s passing, โ€œas part of getting through that phase the band has grown,โ€ and Ron added it had โ€œevolved.โ€

Turning to Chrissy I jested that when we did the original interview, she had suggested they didn’t need a drummer! โ€œWell,โ€ she explained, โ€œwe always needed a drummer, but we were able to perform at the time without a drummer because we were percussive enough. And it went down really well. A couple of venues, we did three gigs before we got Ron, a brilliant drummer!โ€

Ron stepped in immediately at a crossover period between Andy and John, a proficient drummer who told me he had played in a few ska bands in Swindon, โ€œI started playing drums when I was about nine, in orchestras and learnt to read music, that type of thing.โ€ I smiled; he looks like he can blast a Two-Tone riff. โ€œThat’s the thing though,โ€ Chrissy said, โ€œbecause straight away we had DOCAโ€™s Winter of Festive Ales booked. So it was like, everybody had to jump on really, really quickly. And we wanted to use that as an opportunity to do the originals.โ€

It was on the strength of the demo I asked them to play RowdeFest, I hadnโ€™t seen them performing before. But the committee was encouraging me to find a covers band. โ€œWe followed your advice about doing the covers,โ€ Chrissy said, though it wasnโ€™t really advise, rather a  way to get them booked! Iโ€™m so glad they did, they were dynamite and feedback was overwhelming. The kind of band youโ€™d think had been on the circuit for years. โ€œI felt that we were at the party at the end of the day!โ€ John remarked, and they certainly was.

โ€œWhat was nice about that is it the focus was about โ€˜let’s give people a showโ€™ rather than it just being about  โ€˜let’s get our songs outโ€™,โ€ Chrissy explained. โ€œYour influence was about getting a show to give to people, keeping people up on their feet, so and not allowing those breathers.โ€  I did encourage them to ensure they blasted some originals out too, though, which they did!

โ€œWe tried to dress it on different levels of the visual,โ€ John stressed, โ€œwearing the outfits, the recognition of known songs, and the come on, party time!โ€

โ€œYeah, it worked, didn’t it?โ€ I replied, a template to liven up a pub gig, and Burn the Midnight Oil are certainly getting them. The Queenโ€™s Tap in Swindon and Kings Arms in Amesbury their recent outings, but how do they feel about how far theyโ€™ve come?

โ€œGiven that the new face of us being coming up a four piece with Andy’s departure in January, to get that in the space of a year, well, less than a year,โ€ Chrissy said, โ€œas a new lineup, I think it’s quite incredible.โ€

Itโ€™s the added drums which changes it, I supposed, surely essential for a harder rock feel.

โ€œIt changes the scale of the presentation,โ€ John added. โ€œIt’s now got drive and rhythm rather than being listening for the lyric. It’s actually motivated, it hooks into people’s natural sense of rhythm, and you can’t help it. First thing people take in is rhythm, then melody, last of all, lyrics. So if you hook the first bit, you don’t get the second one, then they come back for the lyrics. So we’re attacking it from the best angle.โ€

Here was were I felt a healthy division between John and Chrissyโ€™s perspective, as she began to speak on where she drew inspiration from in the writing and a change in direction from  intrapersonal to interpersonal. She drew from personal relationships and her faith, implying her writing was key, but the difference was never confrontational and a good blend of opinion is surely necessary to compose the elements of a song professionally.  

โ€œI had a tsunami of a creative spell, and wrote twenty songs in as many days. So we’re now, everybody’s having to play catch up, trying to get them polished!โ€ Chrissy explained. She labelled her past songs as an โ€œangsty teenage phase,โ€ and felt her songwriting about โ€œgood guy/scumbagsโ€ had evolved and matured into โ€œsomething more universal. It’s not so much like a diary, it’s definitely becoming more cryptic. It’s pulling in a different kind of imagery and symbolism. And then, because I’m faith-based as well, I’ve given a lot of inspiration taking verses from the Bible that have really helped me through difficult times. I’m weaving them, not to be preachy, but just to be like, this is my story.โ€

โ€œWeโ€™d like the two songs we did at the award ceremony, to polish it up more, get a scratch track done, and then we’re going to go back to Matt Millerโ€™s Dusty Shed, who did the original three.โ€

โ€œWe can’t really use the original EP anymore. And also, it’s fair to say with John’s influences, and the way that we’re allowing space for his creative flow to come into it, it just sounds different.โ€

John pointed out his mixer was adequate when I pondered if they needed a producer. Chrissy replied while it would be โ€œfantastic,โ€  she crunched numbers and said they, โ€œreally want to get onto the festival circuit, and that means having tracks done ASAP.โ€

Captivating to listen to Chrissy delving deeper into the inspiration behind her songwriting and the maturity she felt it levelling to, in which she exclaimed with much delight, โ€œit’s definitely been refreshing having John’s influence, him sharing how he sees it as a viewer. Because you write what you know, and unfortunately, I’ve been exposed to quite a lot of things that I don’t think many people would ever want to be exposed to. And being able to find hope and joy in some of the songs and being able to write happier songs. For the first time ever, I’ve written two love songs! I’ve never written love songs before! So, there definitely seems to be more universal themes.โ€

Yet as fascinating as it is, hearing Chrissyโ€™s writing motivations, John revealing the technical side to their development, Ron adding splices of drummer-fashioned wit, and together them trying to summarise their change in direction whether it be a more rock-blues or dark-country, only to finally decide it unnecessary to pigeonhole it anyway, it makes for a laborious read, so I thought I’d inject a light-hearted, more physical observation with Chris, who otherwise, I suspect, wouldโ€™ve remained silent, save occasionally strumming his bass!

It was that I heard Jimi Hendrix had extremely long fingers, I noted so too did Chris, and wondered if he considered it an asset to playing guitar! John jested, โ€œit’s like watching a spider running up and down a hot plate!โ€ Ron pointed out his stumpy fingers, โ€œI’m a drummer; I’ve just tried to learn the bass guitar and I can’t get my hands anywhere round the neck of the guitar like Chris can!โ€

Chris exampled pianistsโ€™ tendency to have stumpy fingers. โ€œYou look at Elton Joh or Les Dawson, theyโ€™ve all short fingers, but they can play like crazy! I can get away with some stuff, but some of it’s more, arguably, bad habit than good! But I can get away with having long fingers rather than good habits!โ€

 A fellow of far fewer words than the front girl, evidently, but when he does its witty self-mocking is worth itโ€™s weight in gold and sparked a humorous angle to the interview in which, while Chrissy justified his dexterity and nimbleness, Ron favoured to joke about Chrisโ€™s dancing on stage, โ€œwhich is brilliant. I love it!โ€

John praised the firmness of Chrisโ€™ bass, โ€œyou’re methodical, you’re listening. I’m done wondering if he’s bored to death as I explain something to him, as heโ€™s sitting there taking it in. It’s not till you go and think he’s got it.โ€

They all seemed content with each other, and John effectively โ€œkeeping them in line,โ€ and this brought up the subject that they abstained from drinking while performing. โ€œOne rule I was pretty adamant about,โ€ John explained while Chrissy and Ron laughed about being โ€œhyper,โ€  โ€œis drink and music don’t mix. If you’re going to load it up, don’t expect to be any good at the music. Because we’re there to make the party for everybody else.โ€

โ€œYeah,โ€ Chrissy joshed, โ€œso I’m not allowed to have a pre-shot of tequila, which is really good because I definitely noticed a habit where I needed the Dutch courage in order to get up and I started realising, this is a bad habit that I don’t want to become dependent on. So itโ€™s two-wayed. You were definitely enforcing it. And I tried to be more mindful of it and just get up despite feeling nervous. And I get nervous every single time still.โ€

Aside the notion everyone gets butterflies, we moved between passionate subjects like the local circuits and venues and getting further afield, and we ventured back into songwriting inspirations, but I wanted them to nail it into a summary.  โ€œIn a nutshell,โ€ Chrissy said, โ€œweโ€™re focusing on rhythm and melody so that the lyrics can shine through. And we’re drawing inspiration from real life. Trying to make them more universal and a punchy sound. Rocky, bluesy, layers musically and lyrically; say that, Darren!โ€

Okay, I will! And if you want to hear this band progressing, follow their socials for gig updates. Theyโ€™ll be in Devizes on Sunday 14th December, at that tropical holiday resort in the Brittox, The Muck & Dunder, with a fundraiser for Ugandan orphanage His Grace Children Centre Bugiri, which theyโ€™ve organised themselves.

In true Christian spirit Chrissy annually organises a fundraiser around the yuletide, which she did as a soloist ironically titled One Trick Pony. Ironic because, she lent her vocals to drum n bass tracks, returned to town to learn guitar and perform acoustically, ย and now thereโ€™s Burn the Midnight Oil; a proficient four-piece who, merging experiences in varied genres, refuse to ย pigeonhole their developing style, and has an angelic vocalist with a penchant undaunted to delve deep into her psyche and faith for inspiration, and oh yeah, a bassist with long fingers!

Now available at Devizes Books!

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Chatting With Burn The Midnight Oil

Itโ€™s nice to hear when our features attract attention. Salisburyโ€™s Radio Odstock ย picked up on our interview with Devizes band Burn the Midnight Oil andโ€ฆ

The Lost Trades Float on New Single

Iโ€™ve got some gorgeous vocal harmonies currently floating into my ears, as The Lost Trades release their first single since the replacement of Tamsin Quinโ€ฆ

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 releaseโ€ฆ

Klass Komedia Kurmudgeon, Bath, November 2nd 2025 โ€“ Mark Harrison

by Ian Diddams
images by Ben Swann and Ian Diddams


Self-appointed โ€œMoroseโ€ Mark Harrison was once again on totally top form at Komedia last Sunday entertaining us with his style of stunning blues music, engaging history lessons and highly amusing cynical views on society. Lest I appear to be painting Mark in a poor light you may rest assured his easy delivery is gentle on the ears, but delivered with killer punch lines. A thoroughly winning combination. Albeit lacking hotpants which was the sole difference between Mark and Elton John back in the day it seems …

Amongst the recipients of his wit and repartee, and his sublime ex Eric Bibb 1934 National Trojan resonator delivered music, were Ralph McTell, I.T. Analysts (I hid at that juncture!), Eric Clapton, prodigal sons and daughters, a heckler, the services’ economy ( a bunch of flats in London…), schmaltzy songs and twatsโ€™ anthems, โ€œMy Wayโ€, and his cousin Colin. We were regaled with the history of the two artists formerly known as โ€œSonny Boy Williamsonโ€ โ€“ the original aka John Lee Curtis Williamson whose successes in the 30s and 40s were piggy backed by Rice Miller who appropriated the same performance name to hoodwink audiences and record labels. And of Howling Wolf who was years before his time in offering his band members what we would now regard as standard employment benefits such as health insurance.

But in case this sounds like Mark is just a Jack Dee wannabe, it should be emphasised we were here for his music and he was there to deliver it โ€“ with style and panache and not without a bitโ€ฆ well a lotโ€ฆ of dry humour. A cover or two, but predominantly โ€“ naturally โ€“ his own stuffโ€ฆ haunting, engaging, even breath-taking.


The afternoon rushed past โ€“ two hours with a twenty minute break; just one Midlander and a 1934 National Trojan resonator, in a bar in Bath. And thankfully no hotpants.

Perfection.

Mark Harrison’s gig list is here, and his merch is available here.



The Wurzels To Play At FullTone 2026!

If Devizesโ€™ celebrated FullTone Festival is to relocate to Whistley Roadโ€™s Park Farm for next summerโ€™s extravaganza, what better way to give it the rustic feel than The Wurzels, who have just been announced on the line-up?!

If Somersetโ€™s Scrumpy and Western genre has fermented longer than a cider press from folk roots, itโ€™s surely The Wurzels who brought mass attention to it with their number one parody of Melanieโ€™s Brand New Key, The Combine Harvester. The staggering thing about this is, it was in 1976, but whatโ€™s more staggering, is people are still singing it today, and likely will be at FullTone Festival on 11th & 12th July 2026!

Organiser of FullTone, Jemma Brown said of the booking, โ€œthere’s not much more we can say to that!โ€ But you know me, Iโ€™ve always got something to say, and Iโ€™m saying that is a fantastic surprise which only remains to add to the already brilliant show the orchestra and guest acts will deliver.

What else we do know at this early stage, is the huge fifty-piece orchestra will play through sets of  Holstโ€™s The Planets & Star Wars, a Symphonic Queen with Ricardo Afonso, The Best of Motown, an eighties spectacular and Devizes-own BBC radio DJ James Threlfall will be on the dance anthems.

If I wonder what songs the Wurzels will play, top choice has to be Iโ€™ll Never Get a Scrumpy Here, which contains the line, โ€œ’Cos you never get surprises livin’ in Devizes,โ€ and spurred my rant column of the same name, you might remember it. I did write to them to ask permission, they were too busy drinking cider to be in any way concerned. I asked if it was sly stab at our brewery, or that Devizes was as far eastward they favour to venture, but they explained it was used because it rhymed! Well, they’re venturing here in July, and if they give us the key, we can all have a brand new combine harvester.

Jol Roseโ€™s Ragged Stories

Thereโ€™s albums Iโ€™ll go in blind and either be pleasantly surprised, or not. Then thereโ€™s ones which I know Iโ€™m going to love before the first notes ring out. Quite familiar with Swindonโ€™s beloved Dylanesque singer-songwriter Jol Rose, Ragged Stories is another notch in his sublime discography you simply have to listen to on repeatโ€ฆ.

Similarly thereโ€™s many attempting Americana, a few leave themselves open for criticisms of clichรฉ or authenticity while others refine it with a certain level of finesse, then thereโ€™s Jol Rose. Prolific writer and recording artist, but a perfectionist with that defining quality to paint mind masterpieces through his music. 

Though Jol has no standalone anthem, there never seems to be a magnum opus and fans select a wide range of his songs as their personal favourites. His portfolio is never samey, nor completed. Euro ballad Meet me in Berlin makes an appearance on this new album, and is one of my favourites from last yearโ€™s album, Peace, Love & Americana. But this is a stripped back acoustic version, and thatโ€™s the thread through a variety of themes and temperaments; this Jol, raw.

Thereโ€™s other stories of travels; two songs venturing over to the USA it wouldnโ€™t be Americana without, and some Road Boogie to boot. But itโ€™s not without ditties of homebased subjects too. If Springsteen writes romantically of New Jersey gangland warfare, why canโ€™t Jol humbly justify Swindonโ€™s attractiveness with a certain beguiling jollity?! But if Swindon Saturday Night is tongue-in-cheek, Not My Cherie takes cheekiness to a whole other level, as a jokey French rejection from Swindon Conservative Councillor Cherie Adams.

Yet if Not My Cherie doubles-up as his social political observations and Liars & Thieves, makes its political stab humorously, the others on this sixteen songs strong album are far more poignant than satirical. A battle with corruption, Eucalyptus Lullaby opens the album, with the lines, โ€œAs I lie on a bed made of ashes, and ponder the wreckage below, I survey all the things brought upon us, by ignoring what we should have known,โ€ which confirmed weโ€™re in for brilliantly constructed anti-establishment prose.  

Perhaps none more than Day & Night Collide, underlining our anger and ignorance hiding our fears in regards to immigration. If you only listen to one song before going to a polling station, make it this one.

Afternoon Nightmares, is relationship bittersweet, the most Dylanesque, and yes, Jol tackles romance themes with equal edge. In its simplicity Beautiful Denial is gracefully wonderful, but my biggest surprise came via Love Story, a simple title which does what it says on the tin, and you might recognise it, but Jol stamps his mark, and makes this Taylor Swift cover his own.

Just man and guitar, the pure essence of sole quality, and in Jol Rose it is exceptional, this album showcases it without pretence or ignorance. Heโ€™s a figure of reality in a world gone sour, and he expresses it sublimely.

CD of Ragged Stories is available from Jol Rose’s website HERE.

Trending…….

Ruzz Guitar Swings With The Dirty Boogie

Bristolโ€™s regular Johnny B Goode, Ruzz Guitar Blues Revue goes full on swing with a new single, a take on The Brian Setzer Orchestraโ€™s 1998โ€ฆ

Joyrobber Didn’t Want Your Stupid Job Anyway

A second track from local anonymous songwriter Joyrobber has mysteriously appeared online, and heโ€™s bitter about not getting his dream jobโ€ฆ.. If this mysterious dudeโ€™sโ€ฆ

Devizes Chamber Choir Christmas Concert

Itโ€™s not Christmas until the choir sings, and Devizes Chamber Choir intend to do precisely this by announcing their Christmas Concert, as they have doneโ€ฆ

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Stone Circle Music Events Wiltshire Music Awards 2025: Programme

Less than a week to go until the first ever Stone Circle Music Events’ Wiltshire Music Awards at the Corn Exchange, Devizes. We’re not printing a programme of events, so here’s everything you need to know about the ceremony this coming weekend….exciting, isn’t it?!

Firstly, all tickets have now sold out, sorry! But if you’re coming or not, there will be a free warm up party on Friday 24th October at the Three Crowns Devizes, where we will be entertained by the incredible George Wilding. Everyone is welcome!

And now onto Awards Ceremony on Saturday 25th October 2025.

The doors open at 17:30pm. The bar will be open, and we have scrumptious tucker available from Soupchick. Chilli beef or vegan alternative with rice, with nachos, cheese, sour cream and guacamole toppings; ยฃ7:50 for a bowl, I’m in!

Please arrive as soon as possible so we can get everyone seated. There will be music in the hall. I’ve come over all Jive Bunny, and created a mega-mix of local music! I’ve tried to display the diversity and quality of the Wiltshire Music Scene and cram as many songs as I can into one hour; it’s been no easy task.

Being I accept you’ll all be chatting rather than listening, I’m kinda proud of my virtual DJ skills, so for prosperity I’ve leave the mix here so you can listen at your own risk!

Tracks are listed here; apologies if your song isn’t there, I tried to include as many as possible.

Jamie R Hawkins – Not Going Anywhere, Gaz Brookfield – Tale of Gunner Haines, Tamsin Quin – Home, Griffiths & Hollingsworth – Ocean, Andrew Hurst – Tower of Fallen Heroes, Timid Deer – Shallows, Kirsty Clinch – Stay With Us, Deadlight Dance – Samurai Sunset, Will Lawton & Ludwig Mack – Atlantic โ€˜O, M3G – Waiting, Phil Cooper – Bijou, Concrete Prairie – I Wish You Well, JP Oldfield – Magpie, Jol Rose – Make Some Hay, Thieves – Iโ€™m Coming Back, Sโ€™Go – King of The Fairies, Sarah C Ryan Band – Woman in White The Worried Men – Manacle Alley, Junkyard Dogs – Suzie Q, Deadlight Dance – Love Will Tear Us Apart, The First Book of English Magic – Richard Wileman, Barrelhouse – Mainline Voodoo, Aural Candy & Sienna Wileman – Mirrorball, Jon Amor – Peppercorn, Daisy Chapman – Waterloo Sunset, Canuteโ€™s Plastic Army – Hollow Children of Men, George Wilding – Dirty Dream Balloon, Ruby Darbyshire – Donโ€™t Give Up Now, 41 Fords – Emily, Liddington Hill – Maid of Mayhem, Ursa Way – Chasing the Sun, Boot Hill All Stars – Night Bus, I See Orange – Doll Guts, The Belladonna Treatment – Bits of Elation, NervEndings – Democracy Manifest, Nothing Rhymes with Orange – Monday,  Talk in Code – All In, Cephid – Terminus, Subject A – Paradise.

Now, the Awards Ceremony begins at 18:30…. on the dot!

Please make sure you are seated by 18:20. If this sounds all a bit like orders barked at you from your cub scout leader, there’s good reason: We’ve got a lot to squeeze in, and secondly, you don’t want to miss the opening of the show, believe me!!

Weโ€™re not revealing our very special guest opening the show, so don’t even try bribing me with booze! Then you’ll meet the hosts, DJ Mark Anthony and myself.

Stone Circle Wiltshire Music Awards Event Schedule

18:30: Opening Act (Nope Still not Telling!)

1. Best Music Venue

2. Best DJ

3. Best Covers Band

Live Performance: Britpop Boys

Thereโ€™s a champagne supernova trip back to the nineties with The Britpop Boys, renowned for blasting those sing-a-long anthems across the county and beyond. 

1. Best Drummer

2. Best Bassist

3. Best Guitarist

4. Best Duo

Live Performance – Match Box Mutiny

Ben Borrill and Pat Ward, aka Matchbox Mutiny, will be there, the lively Devizes-based duo who never fail to charm.

1. Best Original Band

2. Best Tribute Artist

Live Performance – Burn the Midnight Oil

Devizes own Burn The Midnight Oil will be playing. Theyโ€™ve come so far in such a short space of time with their own brand of breezy blues-rock, and they’ve a new song to play us; weโ€™re excited to see them perform.

1. Best Solo Female Artist

2. Best Solo Male Artist

Live Performance – George Wilding

Our lovable legend George Wilding is a name most of you should know, and heโ€™s coming to play a few songs, of course he is!

1. Best Original Song

2. Rising Star Newcomer

3. Best Instrumental

4. Best Vocalist

Live Performance – Jolyon Dixon and Rachel Sinnetta

Then thereโ€™s Salisbury-basedย Joylon Dixon andย Rachel Sinnettaย โ€“ a duo who raised the roof off the Three Crowns recently, but I knew it was coming as Rachelโ€™s supreme vocal range and Joylonโ€™s professional accompanying will enthral all.

1. Outstanding Contribution to the Wiltshire Music Scene

2. Outstanding Contribution to Music in the Community

3. Special Awards (1)

Live Performance – Lucas Hardy

Award winningย Lucas Hardyย is coming too. Loved on the Salisbury circuit, Lucas will delight you, for what will be, I believe, his first time playing in Devizes; I could be wrong!

1. Special awards (2)

2. Lifetime Achievement Award

Live Performance: Nothing Rhymes with Orange

Devizes homegrown indie-rock phenomenon Nothing Rhymes With Orange will polish off the evening. They created a storm locally a few years ago as a teen sensation, the likes of which I claimed to be the โ€œBeatlemania of Devizes!โ€ Now studying together at Bristol Uni, their popularity has spread nationwide. Back home they have inspired a new generation to form bands, and we welcome them back delighted.

Image: Gail Foster

Evening closes around 11:30pm, when you have my permission to drag me down to the Exchange nightclub below and buy me a Bacardi Breezer!

I look forward to seeing everyone on Saturday, and I hope you all enjoy the evening.

I would like to thank our sponsors: Stone Circle Music Events. Trowbridge Motor Supplies. DJ Mark Anthony. VB Art Studios. The Three Crowns Devizes. Don’t Stop The Music Radio Show. Our guest announcers, Ian and the staff at the Corn Exchange, Devizes Books, and Fantasy Radio.

JP Oldfield & Deadlight Dance Down The Cellar

I mean, Devizes own contemporary blues throwback, JP is getting bookings, and rightly so. He’s off to Trowbridgeโ€™s Lamb next Saturday for a double-bill with Joe Burke. Likewise our favourite Goth duo Deadlight Dance too, Tim showing me some fetching snaps from Friday night’s gig at Frome’s Tree House. But sometimes it’s nice to play an intimate home gig you DIY, so we’re down The Bear Hotel’s Cellar Bar, reviving a once beloved venue with alternative options to Devizesโ€™ status quoโ€ฆ..

And it was; Nick Fletcher and Tim Emery were on the cobblestones first, attired marvellously macabre with whitewash faces; All Hallows’ Eve comes early for goths, and they don’t require Haribo! Equally terror-fically tenebrous was their set, sublimely shadowy synths, then their gloomy guitar rhythm fragments darkened by Nick’s howling vocals. When they came for air you could hear a pin drop.

Deadlight Dance found my inner-goth and devoured it some years ago, still their show improves like a fine Dracula’s blood-wine ….with age and nightly kills! They worked precisely through several tunes from their three albums, concentrating particularly on Chapter & Verse, last year’s gothic literary inspired outpouring. They sprinkled the set with covers, a synth-driven Cureโ€™s Just Like Heaven, for example, quite different from the acoustic version on their breathtaking homage album, The Wiltshire Gothic.

They finished on their ghostly reverberating post-punk makeover of Heartbreak Hotel, because if you’re a goth duo planning to cover an Elvis Presley song, one about a lonely man jumping from a hotel window is apt. Then they stripped it back for an acoustic wandering through the crowd encore.

Herein lies the connection which made a double-bill of post-punk goth and rootsy blues work; JP Oldfield duties the plaintive projection of original southern blues, often termed gothic. Therein the expression of rural, economically disadvantaged African-American communities, and through his gorgeous bass vocal range, the metallicity of his resonator and pounding suitcase drum, it’s about as authentic as you’re going to get on our local circuit.

Yet if JPโ€™s writing is foreboding and disquietude, in line with its influences, some of the darkest corners of his debut Bouffon wasnโ€™t inclusive at this live show, and replaced by some outstanding, intricate and rightfully resonate guitar-work; plus thereโ€™s always the kazoo and his natural banter to brighten things up.

His latest single polished off an amazing set, No Rest, indeed. It embodies everything progressive about this rising starโ€™s skill and bittersweet panache; a fellow who can hold an audience spellbound despite being, perhaps, an acquired taste. But I challenge anyone critical to stay whilst JP thrusts out House of the Rising Sun, making it his own, as itโ€™s so befitting to his encapsulating style. Yet the broadest evaluation of JP Oldfield is simply that, through his dedication and blossoming experience he continuously improves. It is this then which encourages me to call this gig in, slight in attendees which it unfortunately was as the chills of autumn blast through, the best and most passionate Iโ€™ve seen JP play.

Mind you, I groaned about the weather shift to Nick of Deadlight Dance, who replied with positivity. Apparently, he likes Autumn, I joked, โ€œthatโ€™s because youโ€™re a goth and Iโ€™m a milkman!โ€

I do hope we can find more gigs down the Cellar Bar, and bring it back to its former glory, a sentiment I believe will be reflected by the live music hunters of Devizes.

Trending…..

Steatopygous go Septic

If you believe AI, TikTok and the rest of it all suppress Gen Zโ€™s outlets to convey anger and rage, resulting in a generation ofโ€ฆ

by Darren Worrow

DOCAโ€™s Young Urban Digitals

In association with PF Events, Devizes Outdoor Celebratory Arts introduces a Young Urban Digitals course in video mapping and projection mapping for sixteen to twentyโ€ฆ

by Darren Worrow

Jol Roseโ€™s Ragged Stories

Thereโ€™s albums Iโ€™ll go in blind and either be pleasantly surprised, or not. Then thereโ€™s ones which I know Iโ€™m going to love before theโ€ฆ

by Darren Worrow

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Bonnie Weather: New Single From Swindon’s RnB Star, Weather

You might think it’s a laryngologist’s dream come true, this Lewis Capaldi-led decade’s penchant for the blue-eyed soul singersโ€™ melismatic strain to cause Mick Hucknall to issue a health and safety warning, but to Swindon’s Brandon Clarke, aka Weather, it appears to be a natural and phenomenal giftโ€ฆ..

This short and to the point new single from Weather, Bonnie, Be Mine, remains a prime example. Awash in contemporaneous RnB silkiness, Brandon’s vocal range is impressively evocative and weaponises a defence against any criticism of contemporary pop. If Alex Warren is the millennial solitary Bieber from across the pond, Weather is more the Solomon Burke of Swindon, which I believe is a deserved higher rewarding accolade by a country mile!

Yet, despite the sombre emotional outpouring of a hopeful romance, there’s a subtle carefree attitude in Weather’s tenet which awards his sound with a nonchalant sunny side of the street feel, and it’s positively contagious.

This was displayed with panache at Swindon Shuffle, where he blasted the Tuppenny with his prerecorded tracks and toasted merrily over them, enticing the crowd. If it might sound overtly conceited and is something I’d usually turn away from, to a generation where hip hop is an ancestral baseplate it’s acceptable, but with Weather’s delivery it was so confident and indulgently cheerful it affixes a compulsory smile and an irresistible urge to stay to watch.

Even the cover to Bonnie, Be Mine displays an irony of Weather, if his sound is refreshingly modern nu-soul slash indie, with AI it conveys the retrospection of a Donald McGill postcard. So, if you’re reaching that far back before I make a comparison, Brandon, rather than eighties blue-eyed soul boys like George Michael, or even Motown/Stax artists like Wilson Pickett, with this humorous element could we go as far as someone he’d probably have to Google, like Louis Jordan and his Tympany Five?!ย  You might think it’s audacious of me, but considering the whimsical merriment of rap trios like A Tribe Called Quest and De La Soul are forty years old, why not?!

Whatever the weather, it’s a great single and being Weather is prolifically pushing out professionally clasped greatness, we look forward to hearing more.

Trending……

Jon Amor & Friends; Juggernaut at Long Street Blues Club

Oh yeah, invite me to a place with a bar, throw some of the best blues this side of New Orleans at me and then hope Iโ€™ll articulate some words about it next morning, why don’t you?! It’s okay readers, it’s become standard protocol for me, I’ve got thisโ€ฆwith help from Ben and Vicky!

…Here goes my bit; it was the opening of the new season at Long Street Blues Club in Devizes last night. Homegrown blues legend Jon Amor paid it a visit, bringing along his proficient drum and bass section, Tom Gilkes and Jerry Soffe, respectively, a handful of special guests wise in the ways of instrumenting sublime blues, and an intention and motivation to pull an extravaganza from the anticipation in the ether. Irresistible prospect, had to witness, savour, and shake my tail feather to, like it was going out of fashion. Olโ€™ Frankie Valli couldn’t describe it better, oh what a night.ย 

Four to the floor electric blues was the order they marched out to, each one a showstopper yet the show didn’t hang around for the audience to contemplate. Musicians aplenty popping out of the stage door, grabbing instruments and jamming on a rotation akin to an ice hockey game. Johnny Henderson seated at the Hammond organ, Tom Jones guitarist Scott McKeon strumming with Will Edmunds, Craig Crofton blowing that sax, and precision sound engineering all enhanced the usual trioโ€™s show, elevating it to a phenomenal stance.

There were times Jon smoothed it with rarely played ballads, such a superbly protracted Happiest All-Time Low, from his 2018 album Colour in the Sky, but for the most part the Juggernaut and his overload appeased the crowd with expeditious renditions of his belovedย sprightly favourites, and newer The Turnaround album tunes he recorded last year with Jerry & Tom, easiest to pick out being the swinging Rideau Street and the hard stomping riffs of the explicit Miss James. I donโ€™t know who Miss James is, but the passion Jon puts into this, and every song, leaves you wondering what her phone number is!

If this Indian summer is subtle outside it was a furnace inside. Ex-Hoax guitarist Jon, a testament to Devizesโ€™ Mel Bush effect, an immutable adoration of blues, is a stalwart on stage, delivering blues in a style only he could. The aforementioned gubbings only added to the trioโ€™s splendour, and a truly fantastic opening evening for The Long Street Blues Clubโ€™s new season.

But donโ€™t take my word for it, hereโ€™s what Ben Romain and Vicky thought about it, as we got our wires crossed and both wrote about it, but it was such a gig it deserves two reviews anyway!

Stand up and shout! Blues is what it is all about, laid back and loving Blues in D-town!

In my many years as a fan of Jonโ€™s music Iโ€™ve seen him play many venues in Devizes and nearby. We are blessed of course with a monthly residence at The Southgate Inn, where the majority of this ensemble has at some point graced the stage. This evening was a change of a little more space to get some friends together, at our very own Blues Club.

A fine opening set from Leonardo Guilliani, a rapidly rising star, hailing from Southampton. No stranger to the club, having opened for Watermelon Slim previously.

Some great original songs from his album, and new songs from an upcoming release recorded at Abbey Road Studios! I particularly liked the new song โ€˜Angelโ€™, a soulful reflective song, with a gentle tone, blues of a sort but melodic and soothing in a contemporary Blues vein. A few well-chosen covers too, with some resounding classic electric blues. Overall, a perfect opener for this gig! I look forward to seeing him again along the road.

As Jon introduces the extended band to the stage, I am reminded of countless gigs in Devizes and beyond, where I have enjoyed all these musicians. This ensemble has between them played an unbelievable range of genre defining big names, and it showsโ€ฆโ€ฆwith the confident ease they poured into this session.

There are the Jon Amor Trio set regulars like โ€˜Miss Jamesโ€™, โ€˜Juggernautโ€™ and โ€˜Birds Nest on the Groundโ€™, some less regular but great additions such as Jonโ€™s โ€˜Red Telephoneโ€™ and โ€˜Happiest All time Lowโ€™. This entire two hour plus set revelled in and resounding with the connectivity of the scene.

When Will Edmunds and Jon share โ€˜Lovinโ€™ Cupโ€™ a rousing dance friendly classic we get to enjoy the best of this sense, a classic in the sets of Jon and Will in their regular haunts, sharing as they do, many gigs the might of Gilkes and Soffe.

Weโ€™ve enjoyed Jonny Henderson guest slots here in Devizes and with another Devizes and authorโ€™s favourite Elles Bailey amongst others, weโ€™ve seen the wonderful Scott McKeon guest with Jon, and for a bonus Devizes point with Jonโ€™s former bandmate Robin and Beaux Gris Gris and The Apocalypse and most commonly known for playing with Tom Jones.

I could ramble enthusiastically all day about the good vibes of this gig but thereโ€™s a wider point to acknowledge before I run out of type spaceโ€ฆ.that of the community and connectivity both with musicians and audiences.

We have an unusually high level of gigs, especially blues leaning gigs in our town. We have some pretty heavy hitters in the UK blues past and present around here which doubtless helps, but we are also blessed with venues born of passion, people who support those opportunities as much as they can, so we are known in Devizes for putting up a good audience.

Our little world faces challenges like all venues and scenes across the UK, yet on the whole we are bucking the trend and attracting fine music from the brave upstart to the big established names and something to be rightly proud of.

Thereโ€™s weekly amazing music at the Southgate and these incredible seasons of blues at Long Street, pub gigs, even occasionally music in bars and coffee lounges!

Key to the future of all of it, is people getting involved. I could name around a third of the crowd last night, and know most of the band from past gigs, with all of the craziness of the world, when many conscious or not are affected by loss of community, unity and shared positive experienceโ€ฆ.we have all that right here at home, every week.

I am now twelve years or so into my passionate support of local live music, it offers so much more than huge mega money gigs, and it supports through shared venues other aspects of our towns offer.

So, if you missed this incredible gig look at listings here, Facebook or wherever, message venues, talk to friends, thereโ€™s always a solid welcome, and you may find your new favourite band or next best friend in the crowd!

Thanks Ben, that is exactly what itโ€™s all about! And now a “further reading” related rant to finish on!

When I published a preview of Long Street’s new season I highlighted this gig in particular, because Jon is loved by the residents of Devizes as this native hero. It was inevitable, and something I had discussed with both Ian, organiser of Long Street, and Dave at the Southgate, that someone would comment on the social media shares of it, questioning why they would pay to see Jon at Long Street when his monthly residences at the Southgate are free. Being I suspect thereโ€™s others that share this understandable view, and that money is a benefactor to deciding what to and what not to attend in these trying times, I thought Iโ€™d answer it with my opinion, for better or worse.

Starter for ten, we love the Southgate, we love the fact they host these regular sessions with the Jon Amor Trio and usually a special guest, and weโ€™ve covered them many times. In fact, The Southgate has probably had more reviews from us than anywhere else. Dave and Ian are friends, they attend each other’s gigs and liaison to avoid clashes of similar gigs. The Southgate will pay what they can for an artist from money they make at the bar, most pubs operate this way, it is up to the artist to accept this or decline to play. The Southgate, like others, will hand around a tip hat, to top up the performersโ€™ earnings. That is the way we get free gigs, but it is not how it works with event organisers who must pay for acts from the revenue of ticket sales. No matter how great this residency is at the Southgate, they are on Sunday afternoon when gravy is tipped onto your roast! Personally, due to work commitments Iโ€™m unable to let my hair down over more than a pint, like I can do on a Saturday night; thatโ€™s the time they let me out! Iโ€™m sure others find themselves in a similar situation.

Aside this, with the capacity of the club greater than the pub allowing folk room to move, the enhancement of the show via additional guests forming an eight piece band at times, the perfection of the sound engineering, and the uninterrupted presentation, are all benefits you are unlikely to get in any pub environment. Saturday night proved this, for it was a cut above what any performer would be capable of in any pub. It was a fantastic night, if you were there you would know it was and accept it was total and utter class. If you weren’t, well, you only have my and Ben’s words it was so.

And with that notion we can put the final slither of their comment to bed, that Long Street has โ€œzeroโ€ atmosphere. Yes, I understand there are a few longstanding devotees who favour to remain seated and silent, the root to my little regular jest labelling them โ€œthe Devizes blues appreciation society!โ€ But the atmosphere is what YOU make it! We danced the night away, I loved it, Ben and Vicky clearly loved it, people around us loved it. No one bothered us in doing so and no dancer bothered those who opted not to. When compromise is necessary, no less punters at Long Street adhere than might in a pub.

Thereโ€™s no hard feelings, the comment remains as we donโ€™t delete fair opinions. Iโ€™m no Nostradamus, but I suspected someone might suggest this, just a little irked to understand the reasoning for posting it. If it was to encourage others to side with them I genuinely think thatโ€™s a shame, as it risks the continuation of this wonderful club. No one is forcing anyone to go anymore than anyone is forcing anyone else to write such a comment.

Hey, I might see them at the Gate sometime, but they should note some regulars there attended this one, and others who might not frequent the Southgate, they did too; why deny their chances to see an act they claimed to love themselves, like most of us in Devizes? Because, and hereโ€™s the killer line, when Jon and his extended team blasted out the customary Juggernaut finale, feet were stomping, sweat rinsed shirts, and expressions of sheer joy blessed the faces of those in attendance. It was blissfully brilliant, the best night in Devizes Iโ€™ve had for a long time; long live Long Street Blues Club, but yeah, other options, such as The Southgate are available and come highly recommended too. What a petty fiasco!ย ย 

Shearwater: New Single From Nothing Rhymes With Orange

Thereโ€™s a new single from Bristol-based Nothing Rhymes With Orange out tomorrow (Saturday 20th September) which takes the band to a whole new level, and it has got me thinking back to their Devizes rootsโ€ฆ..ย 

You know, I really cannot remember how this thing started, if they contacted me or if I found them. It was three years ago, at a time when local media seemed rampant with scare stories sensationalising teenage hooliganism. Folk jumped the bandwagon, naming and shaming wayward youth on Facebook like it was modern gallows, and making fearmongering sweeping generalisations, classing every child as a psychotic delinquent.

I figured this wasn’t the same picture I was seeing. That thereโ€™s always been a handful off the rails, but in comparison to previous generations, most Gen Z were passive, thoughtful, and creative. So I set out to prove this wonky narrative wrong, and in doing so found many aspiring teenage bands to use as examples, but none so accomplished and motivated as Nothing Rhymes with Orange.

There was always something staunchly between the members of this Devizes School band, frontman Elijah Easton, Sam Briggs, Fin Anderson-Farquhar, and drummer Lui Venables, an unequalled camaraderie which combined their honing skills harmoniously. Their calculated sagacity writing painted a blithe picture of Gen Z, equal to how punk bands like The Newtown Neurotics summarised life for generation X, and it spawned a zeitgeist.

Image: Gail Foster

Moments after reviewing their debut single, Chow for Now, they launched an equivalently impressive EP called Midsummer. I figured it was overdue to check them out live, as they organised their own gig at West Lavington Village Hall. Divided between parents and youth I witnessed the birth of a local phenomenon. I dubbed it โ€œBeatlemania in Devizes.โ€ Teenage fans chanted the chorus of Manipulation back at them, as Elijah jumped from the stage relishing in the moment.

I encouraged teenage budding writers and photographers to record this blossoming movement for us, as alongside bands like Melkshamโ€™s The Sunnies, they were inspiring a new generation of musicians too. And for the adults, I wanted them to quit whinging about youth, by showcasing NRWO in an environment free from age division, where they could see for themselves this emergent youth fandom and the local band which created it. I urged our carnival committee that their annual โ€œInternationalโ€ Street Festival in Devizes should showcase such a local act, and pride overcame me as I introduced them to the masses gathered in the Market Place, because alongside their excellent self-promotion, Devizine expressed with honesty that townsfolk should support this spectacular homemade band, and they did.

The lads released several new songs, all of which were tiny progressive steps to a maturity in their sound. At a gig at The Three Crowns in May 2024 Devizes-own BBC DJ and presenter, James Threlfall gave me constructive criticism regarding their production levels, suggesting it wasnโ€™t quite to the level necessary and in comparison to upcoming bands across the southwest. I also worried at this time, moving along that adolescent rocky road generally was the make or break of a young band, usually the latter.

Delighted that they planned to study together in Bristol Uni, I finished off our local angled reporting of them with a parting interview, safe in the knowledge both the uni and bustling life in Bristol would open new doors for them and hopeful it would perfect their skills to the level James so honestly pointed out. A huge festival touring summer at Dot 2 Dot, Golden Touch, 110 Above and Camper Calling, returning to Studio 91 for the session which produced their new ear-invasive single, Shearwater, out at 6pm on 20th September across all streaming platforms, surely proves they have.

Image: Gail Foster

Shearwater signifies a hotly-anticipated next chapter, one of huge guitar sounds, jacked up drums and Elijahโ€™s desperate vocals, evoking stories of fiery lust and explosive aftermaths. This is the single which will do for an international audience what Nothing Rhymes With Orange did locally three years ago. The spritely frenzy is replaced by the concentrated rhythmic flow and evocative ambience of the kind of timeless indie-pop anthem a multitude of audiences will shine their phone torches too. The layers are divine, the composition professionally crafted.

Iโ€™ve never needed to exaggerate my appraisal nor flatter NRWO for encouragement. I saw this potential, as did their local fanbase. And tomorrow you can hear the fruits of their labour in full bloom, a categorical advancement of Devizes export to the world, and it makes me feel proud to have backed them to this point, what the future holds is answered in this track, and it looks orange!

But donโ€™t just take my word for it; chatting to James Threlfall just yesterday, I pointed out this single felt like the entry level we were talking about last May, and he agreed, telling me they’ve landed a featured artist spot on BBC Introducing South and West, which is live at 8pm tonight (Thursday 8pm.) The single will be debuting live at their upcoming headline show, 26th September, at The Old England, Bristol. Thereโ€™s also an exciting word on the grapevine: an album is the pipeline. Oh, and donโ€™t forget they’re playing our Wiltshire Music Awards on 23rd October here in Devizes, and will be at Devizes Arts Festival next summer like Bruce Springsteen returning to New Jersey!

For me, Iโ€™ll always have those early moments, like blagging a Sharpie from the sound engineer at street festival, so teenage girls could have their T-shirts signed (not by me, you understand?!!)

No Rest For JP Oldfield, New Single Out Today

It’s been six months since Devizes-based young blues crooner JP Oldfield released his poignant kazoo-blowing debut EP Bouffon. He’s made numerous appearances across the circuit since and created an impressive following. Today sees him on the next leg of his musical journey, a brand new single aptly titled No Restโ€ฆ..

If the kazoo created a unique identity for Josh, quirking up otherwise darker themes than the novelty songs you’d except the instrument to be found in, this idiosyncratic move may have caused some criticism from traditionalists who simply didn’t get it. Not me, inherent in the belief rules are made to be broken, I’m of the reckoning JP Oldfield is a contemporary rarity, a misunderstood genius finding his feet. A dedicated axemen with an axe to grind, and a singer-songwriter unafraid to explore and expose every detail of the melancholic mind maze in the encapsulating way blues legends did before him.

With this in tow, I’d argue the jukejoint authentic sound created with his haunting grizzly vocal tones, that steel guitar and beaten up suitcase pedal-drum is Marmite. Love it or hate it, JP forged an imitable style, ranging from Cash to Tom Waits and Nick Cave in comparison. I’d draw any critic’s attention to a track like Last Orders, a heart-wrenchingly honest tune which takes on the drunkard’s misery of a relationship break-up in true mellowed delta blues fashion, without kazoo. But hey, now we’ve got No Rest, a level up certainly in production and indicative of all the greatness he’s already achieved; it rocks.

There’s the sombre spiritual blues theme we’ve come to expect, but it’s a foot-stomping pace with a killer rolling riff, kazoo-less yet a perfect balance of everything else JP throws at his music. It’s deliberately raw, perfectly hard-hitting and undoubtedly JP on the best form we’ve ever seen.

In our interview a month short of a year ago, Josh gave me the impression he was something of a perfectionist. A lot of work has gone into this full bodied five minute marvel, and it shows, in its crisp sound, this composition of elements making said perfect balance, and also a enlightening video accompanying it, by Jamie R Hawkinsโ€™ Side Owl Productions. This cones out around 6pm tonight, I’ll add the link to it here, so return after your potato waffles.

The video has a different narrative from the song, rather โ€˜the story of the song;โ€™ a fascinating showcase of JP’s session at Mooncalf Studios, where Nick Beere engineers the kind of tune which we might suggest JP’s feet have been found. We look forward to hearing the other songs from this session in good time, but for now this is plenty to indicate this Devizes bluesman is heading in the right direction. But Nick brought out the best in musicians while I was still doodling boobs on my school rough book!

He’s JP Oldfield, I’m just old, but I know what I like. I could dance barefoot in a barn grasping a bottle of bourbon to this, and when it gets to that irresistible bridge I’ll procrastinate my repent, letting my sins roam free for a day; though I havenโ€™t drawn a boob on a school book for quite some considerable time! 

Joyrobber: an anonymous songwriter releasing debut track

When I first heard about Joyrobber, a one man, faceless and nameless musical project itโ€™s fair to say my interested was piqued, and itโ€™s fair to say that the press release Iโ€™ve seen is only creating more questions…

The project got underway in the summer of this year when the artist (whoever they might be) rediscovered some long-lost demos of a few previous unreleased tracks, and although Joyrobber doesnโ€™t have a name for himself, he does have some big names behind the single, with vocals being engineered by the Wiltshire legend Jolyon Dixon and the song itself having been produced by Sugarpill Productions.

The song is called Jeremy Kyle, itโ€™s a comedic, catchy take on the career of (you guessed it) Jeremy Kyle. At this point it probably is sounding like some sort of naff joke song thatโ€™s not really worth a listen, but surprisingly itโ€™s sort of the opposite.

โ€˜Jeremy Kyleโ€™ has a light indie rock sort of feel โ€“ which I think we can all agree weโ€™ve seen work very well locally, with bands like Nothing Rhymes with Orange and Burn the Midnight Oil taking the world by storm. Itโ€™s full of melodic guitar riffs, smooth vocals and punchy drum fills, and you can hear the value of both Sugarpill Productions and Jolyon Dixon throughout the track.

Iโ€™ve heard on the grapevine that luckily thereโ€™s more to come in the not-so-distant future as a few other lost demos have been found alongside this one. It really is worth a listen, I have to say when I first heard about the project I thought it would probably just be a sort of joke single, that Iโ€™d listen to once or twice to write this piece and then just forget, but it feels like it has a bigger potential and I would genuinely recommend it.

You can give it a listen here

Frome based band, Bellwether, to release new single

Formerly known as Judas Goat and the Bellwether, the now renamed band have announced the release of their latest single, โ€œDrill Baby Drillโ€ (coming out on the 27th November). I was given the pleasure of listening to it and you really couldnโ€™t ask for anything betterโ€ฆ

The band themselves have gained a loyal fanbase with their psychedelic blues-rock style, drawing inspiration from The Doors, Cream and Jefferson Airplane amongst others. After having most of this year packed with gigs all over Frome and the surrounding areas this new single is taking things up a notch for the band.

โ€œDrill Baby Drillโ€ starts with a heavy acoustic guitar riff, before leading into the smooth vocals of Sara Vian, the lead singer. By the chorus youโ€™ve got pitch perfect harmonies layered with a mellow electric guitar line creating pure harmony. This continues throughout the song after being met with a steady drumbeat flowing with the song. All in all, itโ€™s a delight.

And itโ€™s nice to see that a clear message still shines through, over the song as a whole. It was originally inspired by the so-called โ€˜diablos musicaโ€™ (devilโ€™s tritone). In simple terms a tritone in music is an interval, two notes that are a certain distance apart being played simultaneously and back in the day this was seen as unsettling and spooky โ€“ due to its dissonant sound. This was pretty much forgotten about until Black Sabbath came along and released โ€˜Black Sabbathโ€™.

Sara Vian herself described it as โ€œlong branded as forbidden and dissonant, yet I discovered an article which claimed that medieval high clergymen imagined it to be the sound of the Holy Trinity; a paradox which became the perfect foundation to explore whatโ€™s going on in America right now!โ€

โ€œDrill Baby Drillโ€ really is worth a listen โ€“ it only takes one to have you hooked and playing it on repeat (I know I have). ย Luckily for you readers, its being soft launched today (5th September) on Bandcamp

There’s also an official launch soiree on the 19th September at the Meet at Eight bar in Yeovil, where local heroes Long Sun will also be appearing (here)

And don’t forget to check out the Bellwethers themselves on whatever social medias you use: @bellwetherbanduk

Yesterdayโ€™s Tomorrow; Debut Album From Ursa Way and its Launch at the Tuppenny

If the eonian motivation of youths picking up guitars and forming bands has hit Gen Z enough that they’re two to a penny, I’m in the right place to discover one new to us, The Tuppennyโ€ฆ.ย 

An adept drummer pinched from Bristol, with the remaining homegrown members formed aย  youthful and hopeful Swindon indie-rock four-piece called Ursa Way, and they’ve ploughed two years into their debut album Yesterdayโ€™s Tomorrow, launched on the night in question. Now was the time to show it off, and they did in an exceptionally accomplished and entertaining way.

If an early start to a Friday evening one weekend before the celebrated Swindon Shuffle was risky, especially being Thursdays are usually the favoured live music nights for The Tuppenny, seems the band are risk-takers, as diving straight in with a twelve track album is ambitious.

Generous to a loyal fanbase when the archetypal EP usually appears first, for the same fiver pricetag, but equally generous are the young punks and an assortment of others who’ve gathered to see them, as they applauded their efforts as if a new wave of hysteria was imminent, which it could well be. Though, this is Old Town, the epicentre of Swindon’s nightlife, where they’ve ingeniously adopted road closure blockades to create Swindon-fashioned alfresco dining areas!

Ursa Way played out their album, but unlike the shameless enterprise of a legend, I predict it was the bulk of their repertoire, and that’s acceptable for an upcoming band. More importantly they did it with bells on; the composition tight, the delivery confident. They seemed most comfortable with a melodic pace rather than thrashing it out, but at perkier tunes they still held it harmoniously.

In a roundabout way they confessed many of their songs were sporadic and spontaneous muses rather than poignantly planned thought processes, which was both amusing and honest, perhaps ironic too I figured after listening to the album. But not as amusing as complimenting Swindon, only to then ironically knock it in a song called Shit Town of Swindon!

While not the poetry of Keats, many of their co-written songs rise above the mocking of their hometown, which if only a standout track for its satirical title, others convey more concentrated narratives. Thereโ€™s a sense of irony throughout though, if Yesterdayโ€™s Tomorrow is surely today, the title track is the penultimate one, and depicts a hungover hope of new horizons of a romantic interlude, in a Britpop style.

The album kicks off with Southbound, an evenly-paced contemporary punk-pop attitude sourced from millennial indie bands like Busted and McFly. Though this album flows brilliantly, itโ€™s onto something decidedly more traditional punk two tracks in, then the aforementioned Shit Town of Swindon continues the style, Britpop influences gradually building. This one has to be anthemic in good time, particularly for their Swindonite fanbase.

Chasing the Sun four tunes in really picks up the pace, again with a comment on their hometown, but with optimism riding the narrative; thereโ€™s a clever and simple hook equal to the previous one here, proving these boys know how to construct a pop song with energy and enthusiasm.

A ballad, Just a Game follows, balancing the pace, and again proving something, that Ursa Way are no one trick pony. Noahโ€™s Nosey Neighbour takes an almost prog-rock style to Britpop, creativity abound here too, this rocks with surprising substance, and weโ€™re only halfway through this twelve-tracks-strong brilliant debut album.

With adroit contrasts in riffs, mainstream rock influences, perfectly placed hooks and intelligent lyrics, thereโ€™s promise in this album that Ursa Way are destined to create something much more memorable, but right now the potential signs are all encompassed in Yesterdayโ€™s Tomorrow. It ends with Another, a monstrously clever drifting Britpop tune seemingly about jealousy, dripping with edge and emotion.

They played this album out at The Tuppenny on Friday, reflecting the feeling weโ€™ll be hearing more of this young band in the future, and the gig felt like a groundbreaking moment for them, in respect of that notion.ย 

LinkTree to Ursa Way

I love the Tuppenny, a hospitable tavern with universal appeal. Thursdays are the live music nights usually, but as I said, itโ€™s Swindon Shuffle next weekend, see my recommendations here, Iโ€™m certain some were at the Tuppenny!

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CrownFest is Back!

Yay! You read it right. After a two year break, CrownFest is back at the Crown in Bishop’s Cannings. So put a big tick ontoโ€ฆ

Six Reasons to Rock in Market Lavington

Alright yeah, itโ€™s a play on band names and thereโ€™s only really two reasons to rock on Friday 17th October at Market Lavington Community Hall;โ€ฆ

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I See Orangeโ€ฆ.And Doll Guts!

There was a time not so long ago when I See Orange was the most exciting new band in Swindon. Their latest offering released at the end of August, a single entitled Doll Guts, truly positions them way above that pedestal and I predict and hope, onto the international marketโ€ฆ.

Though thereโ€™s a nod to the bandโ€™s roots in the accompanying picturesque video, in the way of stage show clips from Swindonโ€™s premier venue The Victoria, itโ€™s consolidated with professional storyboard shots of their playfully cute mien, contrasting their macabre component, commonly associated with grunge. Itโ€™s an original design identity theyโ€™ve manufactured to great success, but never has it been so symbolically recognisable as in this song, and video. The title alone reflects the winsome-dark contrast and their penchant for dolls, and horror, yet thatโ€™s only one element which causes me to hail it their greatest song to date, and the next level up.

Doll Guts is perhaps more melodiously memorable than anything I See Orange has put out in the past, the moreish affiliation of pop, without watering down those gorgeous roaring guitar riffs and thumping drums; greater than the chord simplicity of The Cardigansโ€™ Losing My Favourite Game, but equally punchy. Imagine Hole writing the theme of Twin Peaks; this is evocatively fantasised themed, with a singalong chorus, rising and falling like the paragon of classic grunge, yet their own divine spin.

I loved the drive of Mental Rot, the spookiness of Witch, but Doll Guts is the delineation, incorporating all the elements and symbolism of I See Orangeโ€™s design and launching them back out there in true colours. You have to love this, everyone in the human race, surely?! You donโ€™t have to be the number one Nirvana fanboy. In fact, while mawkish soft metal turned me away from rock in the late eighties, causing me to miss out on grunge, it has been through local bands like I See Orange, Life in Mono, The Belladonna Treatment and Liddington Hill, which has opened my eyes to its power and worth, so, thanks for that!

I See Orange match with a chemistry every band must envy. Formed in 2022 when frontgirl Giselle, originally a folk-pop singer-songwriter moved here from Mexico, and an impromptu rehearsal session with Cameron and Charlie established potential magic. Inspired by nineties and millennial alt-rock, they add their own unique post-grunge flavour. I have believed it works for sometime now, an accolade burgeoning with pace, seeing them gig in London and beyond, and this song confirms the praise theyโ€™re gaining is fully deserved.ย 

JPU Records Link

Find Digital Streams and Downloads HERE

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Oh Danny Boy!

Oh Danny Boy, oh, Danny Boy, they loved your boyish Eton looks so, but when ye was voted in, an all democracy wasnโ€™t quite dying,โ€ฆ

A Quick Shuffle to Swindon

Milkman hours with grandkids visiting it was inevitable a five hour day shift was all I was physically able to put into this year’s Swindonโ€ฆ

Tidy: Talk in Code at The Vic with Riviera Arcade and Flora Flora

It was only ever supposed to be a single launch gig but it could’ve been for a gold-crested gatefold triple LP, because Talk in Code were larging it last night at their hometown premier venue, Swindon’s Victoria. The crowd was ecstatic and the atmosphere was highly flammableโ€ฆ..strike a light!

If witnessing a great band on their own turf adds a communal elevation to the thrill of seeing them at all, Talk in Code certainly pulled out all the stops, even if the je-ne-sais quoi of these masters of indie-pop perform with sublime quality anywhere they happen to appear.

If this crossing the friend barrier themed quintessential grower, More Than Friends sits perfectly into their eighties vibe discography, we were leaked forthcoming singles might venture somewhere slightly different, but right here, now, at The Vic, Talk in Code was rewarded equal rapturous praise in throwing it out there as they were marching triumphantly through their beloved anthems.

Tunes which, like the best memorable pop, have universal and timeless appeal. At a Talk in Code gig you could mute the sound and still comprehend that the individual takes what they want from their style by observing the diversity of the demographic present. Here, this tight group of musicians evoke memories of everything gorgeous about eighties pop from Ah-Ha to Simple Minds, for me. One generation younger, especially when they backtracked to Oxygen, might wallow in nineties indie, and likewise youth will recognise their own contemporary influences.

If homeliness provides confidence to experiment, we were treated to something I’ve never seen Talk in Code do before; as the band Twix breaked, dynamic Adidas- sponsored frontman Chris Stevens proved he was no one trick pony, and blessed the Vic with an immaculate acoustic number, an original he called We Remain.

If appreciation was a pair of knickers, Talk in Code would have a visible panty line, as devotee โ€œTalkersโ€ in blue sunglasses and merch amassed between Vic regulars, equally relishing their vibrant, danceable and electric hoedown! And all took home a CD embossed goodie bag akin to a toddler’s birthday party, save a slice of squashed sponge cake!

Yet if there’s an honourable family-fashioned ambience surrounding this band, where Talkers would follow them to the four corners of the globe, else create Lego fan-videos or shower them with deserved fondness, the mood for a quality evening was pre-set by two awesome support acts TiC cherrypicked.

Gloucestershire soloist, songwriter and model Flora Flora opened the gig with acoustic splendour. New to me, I’m now keenly following her socials. Not because she took control of my phone from my intoxicated sausage fingers to ensure I did, though she did, but because I’ve since come to realise there’s subsequent levels to her talent than the perfection of her rocking performance last night!

An inspiring Gen Z Swifty wordsmith, crafting evocative songs praised and played by our hero James Threlfall on BBC Introducing. A new one drops on streaming platforms on 29th August but is available now on Bandcamp, Need to Say; it’s far more ethereal than Flora Flora’s edgier performance, and you’ll be foolish not to bookmark it as a favourite; fill your ankle-length boots.

Penultimate act, Bristol-Swindon longstanding five-piece rockers Riviera Arcade, I must confess, I preconceived to be a fair, hard rock band; they certainly came out like one. It only took near to the completion of the first song for me to come to complex reasoning why they’re punching well above that weight. Multi-layered precision with captivating guitar riffs set me contemplating subtle nods to eighties mod or punk, sometimes skanking, but still, it heralded heavier rock. They’ve a 2022 album Gone By Ten on stream, so you can hear what I’m waffling about.

An interesting and certainly unique style which, while I was thinking The Police or Costello, they finalised their set of beguiling originals with an apt and superbly delivered cover of The Stonesโ€™ Paint it Black, a perfect summary to their ethos. I returned home as a newfound fan, a bit wobbly on my feet and Notra-Dame bells ringing in my ears fan, but deffo a fan!

Talk in Code was officially on the best form I’ve ever had the pleasure to witness, but it was the combination of acts, venue and atmosphere which famed this fantastic night too; The Vic is renowned for doing so, historically. Owner Darren Simons assured me, though the venue is up for grabs, it’s only going to someone prepared to continue in his shoes, so this flagship to Wiltshire live music should thankfully continue to reign; dodge magic roundabouts and onwards to The Shuffle!

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Wither; Debut Single From Butane Skies

Whilst dispersing highly flammable hydrocarbon gases into the atmosphere is not advisory,  Butane Skies is a name increasingly exploding on local circuits. The young and aspiring Frome โ€œa little bit emo, a little bit notโ€ four-piece released a debut single Wither last month (while I was on my jollies.) So, even though this mention of it might be belated, itโ€™s worthy of your attention, as I predict Butane Skies is a name youโ€™ll be hearing a lot more ofโ€ฆ..

If the name suggests an all-out fireball of frenzied rock you should note itโ€™s taken from a line in the My Chemical Romance song Skylines & Turnstiles, and akin to their emo influence thereโ€™s delicate rising and falling sections of emotive outpouring in Wither. With a dystopian themed desperation, perhaps metaphoric, this is intense yet melodic, as exquisitely composed as Evanescence, and as genius as Frank Turner.

Thereโ€™s an intricate piano, blessing it with a sense of optimism above the emo melancholy of the subtly placed fuzzbox riff and the powerful vox harmonies of a double-Alanis Morissette. Iโ€™m thinking Iโ€™ve not heard local emo quite as good as this since Life in Mono, but not to typecast within the emo pigeonhole, thereโ€™s something more universally indie about them too, Muse-fashion.

Such high accolades deserved, Wither firmly places them on the first runner of the local recording artist ladder, and while an impressive kick start, itโ€™s moreish and patent theyโ€™ve more tricks up their sleeves. Butane Skies established themselves in 2022 after school duo Amaya and Ash collaborated at just 14 years old, and bassist Mia and drummer Alex joined. Theyโ€™ve notched numerous gigs and festivals since Future Sound of Trowbridge at the Pump, and winning Riverbankโ€™s Take The Stage in 2024 with the prize to perform at Minety Music Festival.ย 

Other appearances at Festival on the Farm, Figglefest, Bradford Roots, Corrfest, Chippenham Pride and Sounds at the Ground, and at venues such as The Boathouse, The Neeld, Fromeโ€™s Tree House and a number of local stages at Glastonbury sees them Bristol-bound for The Louisiana and Komedia Bathโ€™s Electric Bar soon. They are nominated for our Wiltshire Music Awards, and now top of never-ending must-see list!

Hereโ€™s a band with a track you must listen to, but the ambience feels something wonderful is blossoming; Butane Skies are yet to hit their magnum-opus, be there when they do.  

LinkTree

Crowned Lightbringer: New EP From Ruby Darbyshire

If I was bowled over backwards by Rubyโ€™s teaser single last week, its title, Crowned Lightbringer, now also belongs to this five-track EP, released today, and as you might guess, youโ€™re in for a treatโ€ฆ..

Thereโ€™s so much incredible time, effort and adroitness pouring out of this itโ€™s actually scary how talented Ruby Darbyshire is at such a young age, and in pondering the journey her music will take her. Youโ€™re left numb to what to listen to next, in awe, and spellbound by its harmonic perfection. Thereโ€™s also a general theme of journey, often rinsed in ingenious metaphors, which connects you to Rubyโ€™s world and imaginings, the hallmark of a musician who knows what buttons to press to engage an audience and leave them spellbound.

Rubyโ€™s Scottish roots are displayed in a bagpipe instrumental bonus track, The Spirit of Jenny Whittle, the rest relies on her accomplished acoustic mood-setters, and the ambience is as ever, hauntingly choral, layered with dedication, folk emotive and saturninely uplifting soulfully, edifying a matured Ruby, compared to her debut EP. But if Crowned Lightbringer displays a whole new level for her music, what comes next will be anyoneโ€™s guess. It is, in my humble opinion, an EP which needs to be in everyoneโ€™s life.

Vocally itโ€™s faultless too, profoundly as guiding as Nina Simone, as variable and soulful as Billie Holiday; comparisons of such high accolades, I know, I donโ€™t know where else to go to balance her sublime vocal range. Lady Nade and Mayyadda the only contemporary likenesses I could fairly credit. Opening with Timekeeper, as deeply emotive as Crowned Lightbringer, chilling and as distant as an autumn zephyr. With a rustic vinyl crackle, Calling Hades captures a timeless acoustic goodness of underworldly Greek gods, with a romantically liberating hopefulness as its theme.

Black Dog has a deeper blues feel, yet sprinkled with northern celtic, spiritually-guiding us away from the omen of solitary, the Gytrash. Ruby is folk, primarily rooted and understanding of it. Thereโ€™s much to unpick from her beautiful music tapestry here, Iโ€™ve only had a quick listen, couldnโ€™t wait for a complete analysis before telling you how fantastic this EP is, but I believe, in time, this might be my personal fave! But hey, the title track follows, and weโ€™ve mentioned this last week, itโ€™s a metaphoric shanty which depicts perfectly where Rubyโ€™s music is taking her and all the demons which might lurk on her journey.

All I know is this should put Ruby not a local circuit map, but on an international stage; I donโ€™t flatter, and if you donโ€™t take note more fool yourself. Listen, just, listen! 

Website Facebook Instagram YouTube

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Talk in Code Down The Gate!

What, again?! Another article about Talk in Code?! Haven’t they had enough Devizine-styled publicity?! Are their heads swelling?!ย  Didn’t that crazy toothless editor catch themโ€ฆ

Keep reading

Talk in Code Announces New Single; More Than Friends

Atmospherically anthemic and reinforced with that infectious rhythmic groove weโ€™ve come to love Talk in Code for, More Than Friends is chockfull of it, and itโ€™s their latest single, to be released on Friday 22nd August 2025 via Regent Street Recordsโ€ฆ.

Even if youโ€™re accounted for now, happily married and matured like a fine wine, the recollections of a blossoming relationship and the eagerness versus apprehension it provokes will never be pushed down a dark alley of your memory lane; successful or epic fail, they live inside the mind forever, Iโ€™m afraid! Frontman, Chris Stevens said of the single, โ€œweโ€™ve all been there, in a situation waiting for the other to make the first move, to validate our feelings, or save face!โ€

I could tell you a few stories, but will save you the agony! Especially as the earliest would be set in the eighties, about getting hot under the collar over girls in rah-rah skirts, leg warmers and dippy-boppers! But thatโ€™s the beauty of this songโ€™s simple premise; if youโ€™re older the irresistible eighties feel to the sound assists you in extracting the emotions needed to savour a memory or two, and youโ€™ll stare back up at your Morten Harket or Kim Wilde poster, should the blu-tac not have dried out, praying theyโ€™ll bless you with a cure to your longing!! Billy Joel, you charlatan, it isnโ€™t that easy to tell her about it!

Whereas if youโ€™re younger and, as gen z generally are, far more practical to be praying to Smash Hits pullout posters, you might relate the songโ€™s narrative to a newfound emotion, sharable on TikTok. But the eighties vibe still functions as a mechanism, because, letโ€™s face it, musical innovators of the eighties are the catalysts to contemporary pop. I was careful here not to suggest eighties music was better, though with my rose-tinted specs on, the thought was! 

And thatโ€™s what makes Talk in Code so universally engaging; it bridges a needed gap between eighties new wave electronica and nineties indie pop. In goes the synths, guitars riffs, the immortal choruses and rousing hooks, and what it exhausts is fresh and pumping, modern yet as timeless as Chris’s Adidas jackets, like someone slipped a rocket between the bum cheeks of Tony Hadley, and whip, zoom heโ€™s top of the download chart faster than you could cry Oasis.

For the reflective mood to the bandโ€™s artistry, which this track seems to strengthen, More Than Friends might be considered typical for the bandโ€™s direction, but as ever, they are growers, and after a listen or three youโ€™ll find the quintessential is challenged with each new release, because this band are tight, theyโ€™re professional, and bounded by great PR, management, and a truly loyal fanbase. A base which will be singing this back to them, in blue sunglasses, at their numerous live performances within the next month!

The single’s launch party is at the Vic, Swindon, on Friday 22nd August. Tickets HERE

Another cracker, Talk in Code. For everyone else, pre-save it HERE!

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Static Moves Crawling Back With Debut Single

In a way itโ€™s more intriguing when a cover band sends an original song than one already producing originals. For if original bands can sometimes be critical of the desire of pub venues to value cover bands over them, yeah, your average cover band is heeding the call for their bread and butter, but are often equally passionate about music, and turn to recording some of their own wares. And when they do itโ€™s natural to pay homage to the particular style they play in, as guaranteed, thatโ€™s their calling and influenceโ€ฆ..

Certainly true of Marlborough-based Static Moves, who released a debut single today, full of the retrospective energy theyโ€™re celebrated for at live shows. They turned a cold February night at the Three Crowns in Devizes into a volcano, as they regularly warm crowds at a plethora of local venues with a repertoire of welcomed new wave to Britpop covers.

The concern is that the raw energy doesnโ€™t transfer to the recording, but you have no worries here; it’s the dog’s bollocks. Crawl Back, as theyโ€™ve called it, belts out an accomplished potential anthem of precisely what theyโ€™re loved for on the circuit. A matured and modern indie-rock spliced โ€œTurning Japaneseโ€ by the Vapors, with a carefree attitude of the Merton Parkas. Itโ€™s got the new wave mod-punk crossover of the early eighties splashed across it like two-tone trousers and Fred Perry T-shirts never went out of fashion. And it didnโ€™t, because you can hear its influence crying out for attention in contemporary indie-rock bands, ergo, the appeal of Crawl Back reaches beyond nostalgic middle-aged to youths today.

With a theme of the tail between your legs sympathy vote, forgiveness is key when you still fancy the wrongdoer, forget the three minute hero, this weighs in at four and a half, and it waits for no man to catch up with it. In a way the length of this whopper is more indicative of modern punk bands, but you cannot help but imagine youโ€™re at a musky gig in 1981, it costs two quid to get in, youโ€™ve only got one and half a packet of fruit Polos to trade with the glue-sniffers hanging outside drinking tins of Tennents!

Static Moves promises more of their, indeed, moreish raw energy captured, and if thereโ€™s more in the pipeline, an EP would be welcomed, an album worth would be knockout, because they could, and should, slip this into their covers set and no one would be any the wiser it wasnโ€™t an album track from Modern English or a nineties influenced crew like The Coral or Supergrass; itโ€™s on that level of excellence too, and that’s why they’re all over our local circuit like Dr Martens were in 1981.

“The Motherโ€ at The Mission Theatre, Bath, July 16th-19th 2025.

by Ian Diddams
images 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, โ€œThe Fatherโ€ and โ€œThe Sonโ€ in the early 2020s. The films were both adapted from his stage plays of the same name, and it will not therefore be a surprise that he preceded both of these original plays with a third โ€œThe Motherโ€. Next Stage Theatre Company bring this first Zeller play to The Mission Theatre, Bath this week, with its time slipping, reality questioning story of a post-menopausal empty-nester whose raison dโ€™etre has gone.

Anne โ€“ the titular character role โ€“ played by Hayley Fitton-Cook, lives a lonely, insular and empty existence in a home dominated by her favourite colour, red. Her children have grown up and left home, and are somewhat estranged to her; her husband she suspects of having an affair. Her life is meaningless and she dulls the tedium with increasingly larger doses of pills, and booze. The play is her experienced life, the other characters being puppets to enact her perceived reality, though we very quickly start to question which is real, which is fever dream, and which is just unreliable memories. Hayley plays the character honestly – as written, straight, she explained, playing The Mother in each scene as if that is the time and place in the real world. Her uncompromising, incessant performance really strengthens the delivery as we wonder which of the almost repeated scenes with minor changes and nuances is the actual real one โ€“ they are all real to Anne as they happen.

The Father, Pierre, is played by Mayur Bhatt, as the slightly lost businessman trying to keep a connection to his wife, and failing dismally. He is kind and gentle in his own way but his work life is either overtaking his own existence, or is providing a cover for extra-martial nefarious activities. Mayur delivers his confused, hurt, but also self-centred character sublimely, delivering a perfectly crafted Willy Loman style businessman, looking forward to the next exciting convention on microcredits, while achieving not much at all โ€“ except an opportunity to avoid Anne.

Nicholas, The Son, is played by Oliver Manners. The Son represents Anneโ€™s confidence crisis โ€“ he is mid twenties and has left home to live with his girlfriend, and hardly communicates with The Mother now, finding her too stifling of his life. His own relationship crisis brings him back to the family home and the inner tensions and loss of mutual support are exposed all too obviously. The Mother tries to mother him, which he is rejecting; his relationship with his father is at best strained, and Nicholas knows โ€œthingsโ€ about Pierre that Anne doesnโ€™t. Its a tightrope of a plot line to follow for an actor โ€“ neither too close to his parents but equally not totally dismissive of them either; their remains some inklings to family ties but they are stretched. Oliver’s perfection of this fledged offspring counterposed by his critical encapsulation of Nicholas’ insecutorites belies the fact that this is his first role with Next Stage.

Finally the fourth character of The Girl is played by Perrine Maillot; the girl is a melange of various female characters within the story. The is certainly Nicholasโ€™ girlfriend, Elodieโ€ฆ but she is โ€“ in Anneโ€™s confused mind โ€“ also her husbandโ€™s lover, and a mental health nurse arranging treatment for Anne. And there may be a thought amongst the audience that maybe Elodie/lover is actually Nicholasโ€™ sister who is continually referenced but never seen, and has no contact ever with her family. Perrine is strong in her characterisation of Elodie, the girlfriend that doesnโ€™t like the Mother, who in turn doesnโ€™t like Elodie โ€“ though they both like red dressesโ€ฆ.

The mastery of the play is its continual time slip/alternative reality of scenes, often repeating themselves in a ground-hog day scenario, leaving the audience to work out their own understanding of what is going on. There are no right or wrong plot lines here โ€“ Zeller has deliberately set up the play with multiple answers and endings, leaving us to decide which narrative fits our own understandings. Is Anne mad? Is this all a repeating nightmare? Is some of it actually reality surrounded by alternatively recollected situations and outcomes in Anneโ€™s addled mind. Is Anne depressed? Menopausal? Has she dementia? Are some of the characters Anne interacts with actually dead? Are they all dead? Do some of the characters actually ever exist and are just figments of her imagination in her Walter Mitty world?

The set is simplistically perfect โ€“ Anneโ€™s favourite colour red abounds in the bedroom/diner open plan set. Even the scene changes are done to a lowered red wash of light. Created by Director Tiana James it is the perfect reflection of Anneโ€™s mind. Lighting and Sound is provided between Rowan Bendle and Kris Nuttal with Nicky Wilkins as fight choreographer.

Its a challenging play โ€“ it will likely raise emotions, query oneโ€™s own visions of what is real and what is pretend, and some aspects may well be triggering. But art should challenge us โ€“ and Zellerโ€™s play so well delivered by Tiana James on her directorial debut ably assisted by cast and creatives certainly provides the chance to be challenged in all the best ways.

โ€œThe Motherโ€ is showing at The Mission Theatre from July 16th-19th 2025, at 7.30pm. Tickets from https://www.missiontheatre.co.uk/tickets/the-mother


Pitstop at Air Ambulance Fundraising Mini-festival at The Three Crowns Devizesย 

Rude to walk into an event sporting another event wristband but the welcome was friendly as ever at the Three Crowns in Devizes. It’s mid-afternoon, Park Farm Festival‘s shuttle bus took me into town, cheekily I used it to poke my nose into the Air Ambulance fundraiser here, their first real multi-act day, I believe, save perhaps my 50th birthday, which if you remember any details of, you could always fill me in!

It was a necessity, if only to see Ruby Darbyshire, as it’s been a while, not a long while, but long enough for me. First time playing the venue and she went down a storm, unsurprisingly. Such a rich, natural talent, vocals made from silk, expressive and  forever a joy to listen to; be they either covers, a Portishead one being a particularly breathtaking one, or her intelligently constructed originals, of which she dropped a couple of new ones I’m eager to review here in good time.

There were hugs all round upon my entrance; Ben Borrill and Pat Ward finished a set as Matchbox Mutiny, a shame to miss, because those gorgeously talented guys pull a crowd and hold them. At the moment I did arrive I was delighted to catch Rachel Sinnetta & Jolyon Dixon doing their thing with Andy Fellows accompanying on guitar, as itโ€™s always impressive and highly entertaining. It was a stellar lineup with cupcakes, lollipops, childrenโ€™s face-painting, and tried and tested acts at the Three Crowns, save Ruby, who Iโ€™m assured would be welcomed back.

Rumour was Devizes Male Choir was intending to do a flash mob bit between Ruby and the grand finale, the ever lively Funked-Up. Unsure if this happened, as unfortunately, I was duty bound to return to Park Festival, but you can rest assured Funked-Up got the crowds dancing the night away. I wish I could’ve stayed.

The spirit of The Three Crowns remains toppermost in town; the go-to pub in Devizes for a good night, an unpretentious, friendly atmosphere with the widest age demographic which never clashes. Itโ€™s trouble-free fun, itโ€™s live music program set to enthral, and not forgetting gourmet burgers; itโ€™s an all-round winner on any night, but more of this all-day stuff, please kind sir!  

Wendy James Tour Coming to Fromeโ€™s Cheese & Grain

Photo credit: David Leigh Dodd

Pioneers of the indie-rock sound which would lead us into the nineties, Transvision Vamp lead singer Wendy James has announced a UK tour in October in support of her recently released tenth solo album The Shape of History, which includes Fromeโ€™s Cheese & Grainโ€ฆ..

Wendy will be accompanied on tour by a full band, featuring Transvision Vamp’s bass player Dave Parsons, Jim Sclavunos from Nick Cave and The Bad Seeds on drums and Alex Ward (Thurston Moore Group) on guitar. They will be playing songs from across all of her albums, from TVV Pop, to New Wave Punk to Lo-Fi Racine No.1, through to the big productions of Queen High Straight and The Shape Of History, picking off favourite songs from each.ย 

For full tour dates see here, but closest to us is Tuesday 14th October at the Cheese and Grain, and The Fleece, Bristol on Tuesday 28th October.

Wendy James

While The Shape of History doesnโ€™t begin with a sound akin to Transvision Vamp, thereโ€™s underlying echoes of it as the album builds. Layers of electronica envelope the familiar vocals, so while itโ€™s not what you were expecting, the effect is as The Independent described, โ€œlike a patchwork of memories โ€“ victories, heartaches, the feeling of racing down a California highway, no destination in mind.โ€ And Classic Rock expressed that 

โ€œThe Wendy James of 2024 is an older, wiser and far more intriguing prospect. The Shape of History, never dull, and certainly never predictable.โ€ 

 โ€œMy songwriting has always been a wide mix of sounds, which naturally reflect the different music and references I have and love,โ€ Wendy explained, โ€œThe Shape Of History was recorded on Scrubs Lane, West London with Alex Ward, Harry Bohay and James Sclavunos. I then went off to NYC and Brooklyn to record the pianos and organs with Dave โ€˜The Mooseโ€™ Sherman. Overdubbing continued with Al Lawson at the engineering helm in his Shepherdโ€™s Bush studio and then I went back to Berkeley, CA to mix with Jesse Nichols before mastering with Fred Kevorkian in Brooklyn NY. I have spent so much time with this music, I know it note-for-note and love it and am so happy for you to make it your own now”.

 โ€œThe Shape Of History has a lot about love in it, a lot about appreciation of oneself, oneโ€™s life and importantly, of others. It is lifeโ€™s arc of starting out, blooming into something and in some ways maturing. I donโ€™t think my music has got older, I know Iโ€™ve not gone mellow! My attitude can be more ferocious and fearless than ever, but there is an acquired wisdom, which naturally comes after having been alive for a few decades! โ€˜The Shape Of Historyโ€™ is a love letter and a Thank you note to life so far. The culmination of my tenth album is the result of co-musicians and engineers who Iโ€™ve worked with previously and with whom I share a language. We know each other, we choose to work together. We enjoy each otherโ€™s talents and personalities. There is a happiness, a belonging, when we meet up, and an open and determined desire to achieve what we know we have to.โ€

โ€œFrom meeting Nick Christian Sayer and forming Transvision Vamp, the two of us walking into EMI Records, and demanding to see the head of Artists and Repertoire, Dave Ambrose. Getting signed and making our hits of the late 80โ€™s and 90โ€™s. From collaborating with Elvis Costello and mixing that album at Sunset Sound in Hollywood where The Stones mixed โ€˜Exile On Main Stโ€™, then moving to NYC to start writing and recording as a solo artist, all the gigs Iโ€™ve played and the friends Iโ€™ve made around the world, the astounding, incredible, wonderful people whose lives Iโ€™ve crossed paths withโ€ฆ I am so grateful for it all.โ€

Buy Shape of History HERE

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News & Chat About Wiltshire Music Awards on Donโ€™t Stop the Music Radio Show

Despite being a tad under the weather last week, I was delighted to join Eddie Prestidge of Wiltshire Music Events on Swindon 105.5 radio to discuss the next stages of our Wiltshire Music Awardsโ€ฆ..

For those not in the know, though I suspect many are, presenter Peggy-Sue Ford produces a weekly show on the long-established station called Donโ€™t Stop the Music, dedicated to showcasing signed and unsigned acts, particularly locally-sourced. What better place to explain our plans for the awards? I cannot think of any, because thereโ€™s few radio shows locally as thoroughly dedicated as Peggyโ€™s, who brings acts into the studio to perform live and has become such a popular catalyst for upcoming local musicians.

This week Peggy-Sue was talking to Rich Swatton of a gem on our event calendar, Minety Music Festival, so it was the second week absent of live music; I did offer to sing for our turn on the show, which was swifty and understandably avoided and the topic diverted! Other than this, I think it went rather well and Ed and I made a bit of a duo, in the vein of Laurel & Hardy!!

Peggy-Sue uploads the shows on Spotify, so you can catch up with the shows if you miss them; hereโ€™s ours, should you wish to listen. Despite no live music, thereโ€™s local tunes from many already on our radar, Talk in Code, Deadlight Dance and JP Oldfield, and others new to us, Swindon crossover rapper Brandon Clarke, who goes under the pseudonym Weather, and Kate X, an upcoming RnB singer; both worth looking up.

With the voting process now closed, Ed and I explained what happens next. The votes will be counted and the top three of each category will be put before a panel of judges, all with professional experience and loyalty to promoting the local music scene. The reason for this, so we can find a balance across the entire county and represent countywide fairly, ensuring the results are not centralised in one area. Whereby some results appear to be close to call, judges will decide the winner, but in all cases, especially those results where one has walked the category, this accomplishment must be considered by the judges as priority.

The judges were announced as being, subject to their own availability: Claire Grist of the Facebook page Bird is the Word, Ed Dyer of Swindon Shuffle, Roger of Sound Knowledge in Marlborough, Ronnie Laurie of Marland Music, Salisbury music producer Joylon Dixon, Nick Beere of Mooncalf Studios, and Peggy-Sue Ford herself. We have advised, now the judges are announced, bribing them with sweeties, kisses, or anything of the kind will be frowned upon!

This is the first Wiltshire Music Awards, and weโ€™re learning and planning as we go, but we are dedicated to presenting the results in October with a grand ceremony at Devizes Corn Exchange. In order to do this effectively we require sponsorship for each category, for which is affordable and details of which can be found HERE. Tickets for the ceremony can also be found there, starting at just ten pounds, and thereโ€™s some FAQs.

We strive towards that date crossing the Ts and dotting the Is, and look forward to presenting the awards with lots of live music acts on the night, perhaps a celebrity presenter alongside me in a tux, the latter of which is worth the ticket price alone!

Iโ€™d like to thank Peggy-Sue and Swindon 105.5 on behalf of myself and Eddie, for allowing us to visit the studio last week, to chat about the awards, and test the swing chairs for squeakiness, which I report was minimal. What a great show! 

REVIEW โ€“ The Lost Trades @ The Piggy Bank, Calne โ€“ Tuesday 18th June 2025

Five Have An Out-of-town Experience

You canโ€™t always get that live music experience you crave by simply staying within the walls of D-Town.ย  Sometimes, and especially when thereโ€™s aย  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.ย  And so it was last night that we ventured over the hill to Calne.ย  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 donโ€™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, (weโ€™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.ย  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 โ€“ 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:

ยท 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 producerโ€™s job;

ยท 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;

ยท 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 yearโ€™s Lions Den)  

Between us five weโ€™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 bandโ€™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 โ€“ 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 โ€“ 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 didnโ€™t in any way detract from all the superb quality of the music they delivered in their three sets (or โ€œspasmsโ€ 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 thereโ€™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!), theyโ€™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 Festivalย ย 

Friday 26th September 2025 @ The Pump, Trowbridge

Saturday 27th September @ The Hop, Old Town, Swindonย ย 

For more information go to thelosttrades.com/ย 

REVIEW โ€“ Devizes Arts Festivalโ€“ Mark Watson โ€“ Corn Exchange – Friday 13th June 2025

Welsh Favourite Comes to Devizes

Andy Fawthrop

The Devizes Arts Festival came up with another of its heavy hitters last night with a packed house at The Corn Exchange, all ready to welcome comedian Mark Watson to the town.

Mark Watson is an English comedian, novelist and producer.ย  Born in Bristol of a Welsh mother and English father, he has adopted a somewhat Welsh lilt in his delivery.ย  Heโ€™s won a number of comedy awards and is well known from his frequent appearances on TV, as well as being a Radio 4 regular.

Introducing himself, Mark climbed on stage to do an introductory 10-15 minutes before bringing on his support act for the night โ€“ Vicky Slater.  Projecting a slightly larger-than-life persona, Vicky delivered her material well, but Iโ€™m not sure that quite all of it landed.  Her tales of coming out as gay were delightful and amusing, rather than particularly hilarious.  She at least avoided the current lazy habit some up-and-coming comedians have of trying to pick on audience members in order to prompt some witty improv, and instead stuck to her own original material.  Respect for that. She was slightly rambling and incoherent in places, but she gradually won the audience over.

After a slightly short first half and an early interval, the main man was back to deliver his set.  Mark kicked off with comparing how difficult it was being a stand-up comedian versus, say, being a brain surgeon or, prompted by an audience member, a menopause therapist.  His key criteria for the comparisons were, aside from the training and basic aptitude, the amount of sheer stress and anxiety that such an activity could induce.

This was all by way of introduction to his first main theme โ€“ stressful situations in ordinary life.  But this was no feeble Michael Macintyre โ€œobservational comedyโ€, laughing at โ€œisnโ€™t it funny whenโ€ฆ?โ€ type comments.  This was full of little anecdotes of his own personal experience that everyone could easily relate to โ€“ flying with a small airline, getting into a car thinking it was an Uber (when it wasnโ€™t), asking for help in Tesco (from someone who wasnโ€™t even an employee), dealing with a homeless man (who began to take advantage), interacting with chat-bots online (who seemed very concerned for his continued welfare after once buying some towels a few years previously), and coping with his son whose only apparent language capability seemed to be through frequent WhatsApp messages.  The situations were carefully crafted and set up before the always droll and almost exasperated punchlines.

His second โ€œthemeโ€ (if I can call it that) was around the โ€œcorporateโ€ gigs heโ€™s sometimes had to do, particularly the waste-processing and meat-processing industries.  The latterโ€™s โ€œMeat Management Awardsโ€ provided a rich vein that he mined repeatedly for jokes about sausages and how heโ€™d become โ€œan advocate for natural casingsโ€.

Against his own better judgement, heโ€™d been persuaded to use ChatGPT to create a self-description, and it had come up with โ€œa breathless delivery by a neurotic personalityโ€, and even he had to admit that it wasnโ€™t too far from the truth.  And Iโ€™d agree.  Watson came across as genuinely curious about the world, bemused by modern technology, amazed by other people, and surprised by how much of modern life created stressful situations for him.  And out of this melting pot there came a genuinely funny man.  He was self-deprecating, very natural and โ€“ no doubt about it โ€“ absolutely hilarious.

Absolute top marks to Mr Watson and to the Devizes Arts Festival for booking him.ย  Top notch. Findย  out more at www.markwatsonthecomedian.com/ย ย 

The Devizes Arts Festival continues until the night of Sunday 15th June at various venues around the town.  Tickets can be booked at Devizes Books or online at  www.devizesartsfestival.org.uk  

REVIEW โ€“ Devizes Arts Festivalโ€“ Anna Ling โ€“ St Andrewโ€™s Church – Thursday 5th June 2025

Another Little Sweetie In The Jar

Andy Fawthrop

Well the Devizes Arts Festival is in full swing now, with several events already under its belt.ย  Thereโ€™s stuff cropping up every day, so I took the chance to pop in to a much-underused venue in the town St Andrewโ€™s Church on Long Street.….

After several big-ticket shows in the programme, it was a pleasure to settle down to something a little more modest, a more bread-and-butter item if you like.ย  Mid-week lunchtime isnโ€™t going to be a time to attract a particularly large audience, even on market day, but a good few hardy souls turned up to at least create a good audience atmosphere.

Anna Ling, a performer Iโ€™d not personally come across before, is a guitarist and singer/songwriter.  Her creative work and sense of purpose are deeply rooted in her love of bringing people together through song. This passion shapes her life, guiding her from leading community choirs to performing at venues, care homes, and world-class festivals.

In a concert co-promoted with the charity, Live Music Now, Anna delivered a professional and engaging 50-minute set which featured both her own material along with a few covers.  She worked hard to engage the audience right from the kick-off, inviting us into her world.  The performance was light and humorous, heartfelt and intimate.  And she was determined that we were not just going to sit back and listen to her, but to join in as well.  She had a lovely clear, strong voice, and used it to particular effect when she came down from the stage and abandoned her guitar in favour of an unaccompanied song right from the middle of the audience.

Her lyrics were simple, her guitar chords straight-forward.  This was not a set filled with new arrangements or presenting anything particularly challenging, but an opportunity to listen to a set of songs simply delivered and largely unadorned.  She filled the gaps between the songs with little stories and anecdotes, never lifting her voice very much, and thus drawing you in.

Plain, simple, and thoroughly enjoyable.  Just another little sweetie in the jar from Devizes Arts Festival.  And thereโ€™s plenty more to see and hear yet, so do make sure that you get along to experience something soon. Itโ€™ll all be over before you know it!

Devizes Arts Festival continues until Sunday 15th June at various venues around the town.ย  Tickets can be booked at Devizes Books or online HERE

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REVIEW โ€“ Devizes Arts Festivalโ€“ Kiki Dee & Carmelo Luggeri โ€“ Corn Exchange – Friday 30th May 2025

Still Got The Music In Her

By Andy Fawthrop

Itโ€™s been a while coming a-round but at long last Devizesโ€™ very own Arts Festival finally kicked off last night for its two-week run.ย  And we started off, as is usual now, with a real belter of a concert in the Corn Exchange, this time featuring veteran performers Kiki Dee and Carmelo Luggeri…..

If you were after star quality, Kiki Dee has it in spades.ย  Recently celebrating her 60th year in the music industry, she has now released a whopping 40 singles, three EPs and 22 albums. She is one of the UKโ€™s finest and most revered vocalists, and sheโ€™s sung with and for just about anybody who is anybody in this industry.

Pauline Matthews (as was) was born in Bradford, West Riding of Yorkshire in 1947.  At the age of 10 she won a local talent contest, and at 16 she had her first paid job as Kiki Dee in show business. She worked briefly as an apprentice hairdresser (she did my motherโ€™s hair once โ€“ my feeble claim to fame!) and at Boots in Bradford during the day, while in the evenings she sang songs with a dance band in Leeds.  Initially with Fontana Records, known for her blue-eyed soul vocals, she was the first female singer from the UK to sign with Motown’s Tamla Records. Sheโ€™s best known for the hit singles “Amoureuse” (1973), “I’ve Got the Music in Me” (1974) and “Don’t Go Breaking My Heart”, her 1976 duet with old Reg Dwight (Elton John), which reached Number One on the UK Singles Chart and the US Billboard Hot 100 chart.  Her 1981 single “Star” became the theme song for the talent show Opportunity Knocks when it was revived by the BBC in 1987.  

During her career sheโ€™s sung backing vocals for Dusty Springfield, was one of the backing vocalists on Love Affair’s 1968 UK number one single Everlasting Love, sang backing vocals on various Elton John recordings, such as “All the Girls Love Alice” from Goodbye Yellow Brick Road and various tracks on Rock of the Westies, played as support act to Queen at their Hyde Park concert in front of a crowd of 150,000 people, and performed at Live Aid in 1985, reprising “Don’t Go Breaking My Heart” with John, and performing backing vocals on the other songs in his set. On top of that sheโ€™s won awards for her Musical Theatre roles in Willy Russell’s Blood Brothers, in which she took on the role originally played by Barbara Dickson for the 1988 production and recording, and received an Olivier Award nomination in 1989 in the Best Actress in a Musical category.  

But all of that is history!  Nowadays, or at least for the last twenty years or so, sheโ€™s continued to move forward with the music that she creates with Carmelo Luggeri. Kiki says Carmelo is her favourite guitarist and he co-writes and produces all their songs.  

Dee released the live album Almost Naked, a joint effort with Carmelo in 1995, followed by the studio albums Where Rivers Meet (1998) and The Walk Of Faith (2005). In September 2013, Dee and Luggeri released their third studio album, A Place Where I Can Go, on Spellbound Records. They have been touring together ever since and have played alongside such musical luminaries as Roger Taylor, Jack Bruce, Fish, Paul Young, Tom Robinson, Graham Gouldman and Madeline Bell.  

Carmelo Luggeriโ€™s abilities as a guitarist, composer and producer have taken him on a rich and interesting musical path over his career. Born in England of Italian parents, Carmelo was mainly self-taught with some classical training.  Working with comedian and television personality Billy Connolly he created the โ€œWatzinโ€™ Matildaโ€ re-work used for the hugely successful 1995 โ€œWorld Tour Of Australiaโ€ TV series. In 1998 Carmelo produced the track โ€œStealinโ€ for the film โ€œStill Crazyโ€ starring Jimmy Nail.  Carmelo has also worked with US singer Andy Williams, Paul Rodgers (Free, Bad Company), Ray Cooper (Elton John band), Gus Dudgeon, Stuart Epps, Romy Haag and singer songwriter Ralph McTell.

Carmelo and Kikiโ€™s paths first crossed when he produced a collection of bonus tracks for โ€œThe Very Best of Kiki Deeโ€ album, and, under the guidance of their manager Steve Brown they took on a new musical direction together, playing acoustic concerts, starting with an appearance at The Royal

Albert Hall for World AIDS Day in 1994. It was quite a departure for Carmelo at this point as he was essentially an electric player but this marked the beginning of their now 25 year collaboration where acoustic guitar is at the foundation of their sound.

Sorry for the long introductory pre-amble, but just wanted to reprise the careers of these two wonderful musicians.  And I guess youโ€™d have to say that represents as good a musical pedigree as youโ€™re ever going to get, so the expectations for the large crowd were, to say the least, pretty high.

And we werenโ€™t to be disappointed one bit. Kicking off with โ€œGet What You Wish Forโ€ and the first of several musical career anecdotes, we were suddenly there at โ€œDonโ€™t Go Breaking My Heartโ€!  Like most people I thought this would be the wrap-up song or the encore, but Kiki clearly wanted to get the song on the table early.  Using, not unexpectedly, a completely different acoustic arrangement, with a rather slower tempo, her rendition allowed the lyrics to really shine through, and to deliver some really pathos.

Cracking on with anecdotes about meeting David Hockney in Malibu, and working with Dusty Springfield, we had the self-penned โ€œSmall Merciesโ€. She then mined a rich vein of beautifully-arranged covers โ€“ Kate Bushโ€™s โ€œRunning Up That Hillโ€, Robert Palmerโ€™s โ€œEvery Kinda Peopleโ€, and Neil Youngโ€™s โ€œHarvest Moonโ€.

Following โ€œa nice glass of redโ€ and a costume change, the second half continued in much the same vein, with Kiki interspersing the songs with more anecdotes.  Early up we had her big hit โ€œAmoureuseโ€, partly sung in the original French, a jazzy cover of Leonard Cohenโ€™s โ€œDance Me To The End Of Loveโ€ (featuring a touching cameo when she danced with a member of the audience whilst Carmelo commanded the stage with some fabulous guitar work).  We then had a run of the pairโ€™s own compositions โ€“ โ€œAmen and Goodbyeโ€, โ€œSheโ€™s Smiling Nowโ€, โ€œYou Canโ€™t Fix The Maybeโ€ and โ€œUntil We Meet Againโ€ โ€“ before finishing with an upbeat and rousing version of โ€œIโ€™ve Got The Music In Meโ€.  Getting an encore was a mere formality by this stage, but their choice was a strange one โ€“ a very quiet number entitled โ€œIf You Ever Need Someoneโ€, and a harmonised version of The Beatlesโ€™ โ€œBlackbirdโ€.  Cue lots of cheering and a great ovation.

Kiki showed us that, at 78, sheโ€™s definitely still got it.  Her voice is, expectedly, not as strong and pure as in her youth, but itโ€™s still bloody good, hitting all the notes perfectly, and still delivering plenty of soulfulness and meaning.  Carmelo demonstrated throughout to be no mere prop or accompaniment to the big star on his left, but a real guitar craftsman in his own right.  His subtle and effective use of loops and pedals to add depth and colour to every number, coupled with several changes of guitars and tunings, proved a real revelation.  His introductions and solos were beautifully crafted, drawing much applause, and plenty of genuine praise from Kiki.

As a duo they harmonised well, and were very clearly extremely comfortable in each otherโ€™s company on stage.  Their rapport with each other, and with the audience, added considerably to the quality and the professionalism of the show.

This was the third or fourth time Iโ€™d seen these guys, and Iโ€™d have to say that they only get better and better.  A really solid two and a half hour show, filled with great songs, hilarious anecdotes and superb guitar work โ€“ what more could you possibly want?  I absolutely loved and, it seemed, so did the packed audience.  

A cracker of a concert to kick off this yearโ€™s Devizes Arts Festival!

Learn more at www.kikiandcarmelo.com/carmelo-luggeri/ย ย 

The Devizes Arts Festival continues until Sunday 15th June at various venues around the town.ย  Tickets can be booked at Devizes Books or online atย  www.devizesartsfestival.org.ukย ย 

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Clock Radio Turf Out The Maniacs

The first full album by Wiltshireโ€™s finest purveyors of psychedelic indie shenanigans, Clock Radio, was knocked out to an unsuspecting world last week. Itโ€™s called Turfinโ€™ Out The Maniacs, which perhaps should be fact-checked as it sounds to me like theyโ€™re letting them all in, as they arrive on yellow submarines and check into Frank Zappaโ€™s 200 five-rhombus rated motelsโ€ฆ..

Self-described as โ€œeasily triggered, dishonest, cryptic yet flirty deluded jangle rockers,โ€ Clock Radio have produced a string of catchy slacker pop wonders here, as they continuously reach inside the box, like theyโ€™re four elfish Rowan Atkinsons all cast as Paul Atreides. But one thing is for certain, Chris Genner, Oliver Daltrey, Gary Martin and Fraser Wilson will entertain you.

Turfinโ€™ Out The Maniacs sound like the results of the Coral offering The Divine Comedy a hashpipe in a moulded teenage boyโ€™s bedroom; thatโ€™s a compliment by the way.

The opening tune Blood on Chrome certainly reeks of that breezy retrospection of Merseyside garage bands or sixties surf-rock, with an added preliminary Quo guitar riffs. Stoned at the Dojo, which follows emphasises the mock lounge style of The Divine Comedy. Itโ€™s vaudeville throughout, all Bonzo Dog Doo-Dah Bandโ€™s twirling circus, and an accordion welcomes in the next song, yet the tempo is upbeat indie rock. Handsome Weeping Man might leave you questioning if itโ€™s necessary to connote the narrative, but it will leave you amused.

Clock Radio knows precisely what buttons to press to evoke a mood, and press them with free will. To say itโ€™s a tad bonkers, itโ€™s only a tad, and Mountains Beyond the Sun kindles a gentle side, drifting surf-rock, sunny side of the street vibe.

Thereโ€™s ten three minute heroes on this impressive debut album, recorded, mixed and mastered by Dominic Bailey-Clay at Nine Volt Leap Studios, with Fender Rhodes piano, percussion by Dominic and a triangle by Shoshi B. If weโ€™re content with getting halfway through and assuming theyโ€™ve calmed slightly, No Death takes us back onto the weird and wonderfully expressed if questionable muses of the opening.

Turfinโ€™ Out The Maniacs is a comfy yet nippy prank, like being stung in the bottom but launching away from it to splash into a chocolate lake. Not so unlike Noรซl Coward playing a Bond villain, with Bowie as Bond; something you couldnโ€™t imagine happening, but being Marie-Georges Mรฉliรจs directed it and itโ€™s on FilmFour at 3am, you might as well grab a bag of cheesy puffs and thirty grams of Amber Leaf, stay up watch it in your pants. โ€œCactus is cooler, Iโ€™m no Ferris Bueller, I do as Iโ€™m told,โ€ is just one line Iโ€™m cherry picking to illustrate my point, youโ€™ll be amused and rocked in plentiful equal measure.

It has an acoustic ending called Complex 5 which will leave you incarcerated in the meandering yet meticulous peculiarly pulp portrayals of Clock Radio, as if you melted into a bubble sofa. It is available now on the streaming platforms, or buy the digital album from Bandcamp.

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 youโ€™re lucky enough to catch them at, I suggest you pick up a copy of this little showcase disc; theyโ€™re our very own resident Carter Familyโ€ฆ.

Opening with Calneโ€™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, Iโ€™m thinking Neil Young, the Byrds, and all those irresistible Americana classics, which imagines youโ€™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 Roryโ€™s resonator, Adamโ€™s mandolin, and Mattโ€™s upright bass, you can sense Joโ€™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. Iโ€™m no connoisseur, just know what my ears like; itโ€™s all a melting pot,ย and Thieves stir it with delicate precision.

And in that, Iโ€™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 thereโ€™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 โ€˜that guy looks just like Adam Woodhouse,โ€™ (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. โ€œIt is Adam,โ€ Phil replied! Oh, yeah, so it is; I didnโ€™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 itโ€™s so beautiful and moreish, leaving you suspended on whatโ€™s to come from Thieves, but rest assured, hereโ€™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? Itโ€™s free, bring me a haslett and cucumber sandwich, Iโ€™ve arranged the acts, I wonโ€™t let you down.

iTunes Link

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Between Two Worlds with Ruzz Guitar

He might be between two worlds but he can also be in your home, in your very own ears, and that’s the best place for Ruzz Guitar to be. With a striking Funk-O-Pop styled cartoon cover, Ruzz Guitar has a new album out and yeah, just yeah!

Shadowing the Shadows with a belter of an opening track, Ruzz slips into Bo Diddley like a glove, then it’s off to those foot-tapping honkytonk ballads for a few tracks; oh yes, Ruzz is back and it’s a Gretsch-grappling beautiful monster.

There’s not a great deal I can say about this which I’ve not said about our Ruzz before; if it’s not brokenโ€ฆ.

Ruzz Guitar is a tour de force, a sublime blues rocker meshing blues into a unique and prolonged ecstatic ride into the rock n roll formula of yore, it just jumps, jives, and doesn’t come up for air. And if he does, five tunes in with Forever Yours, it’s like standing in a burning sugarcane field; the sweetest air you’ll ever breathe.

Ruzz brings in stellar backing, with some mind-blowingly soulful vocals from Shannon Scott and Julhi Conlinn. Drummer Brian Fahey, both Chris and Steve PelletierSmith on bass, pianist Paul Quinn and special guest appearances from Tyrone Vaughan, Paul Pigat and Mike Eldred.ย 

Recently he’s been two and fro across the Atlantic more times than Concorde, hence the title of this ten track whopper, but I never find myself wondering how he goes down on the other side, you know, delivering something they invented back to them. It worked for The Beatles, you simply know they’ll love him as deep down as Texas, because it’s impossible not to.

Right here though, we’re in Devizes and via the โ€œMel Bush effect,โ€ the Hoax and now the Long Street Blues Club we’ve equally been conditioned with high expectations when we receive a blues dosage, but no one does it quite proper job like our Bristolian Johnny-be-Goode, Ruzz Guitar. He’s so good they named the guitar after him.

This is class in a tall glass, I was expecting it, it never disappoints. Thereโ€™s a number of tracks weโ€™ve tasted before, revised and polished for the ultimate road trip soundtrack; itโ€™s got a new version of Sweet as Honey on it, which for some reason always makes me go bananas!

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IDLES’ at Block Party

With their only UK shows of the year quickly approaching, the 1st and 2nd August will see IDLESโ€™ and music festival Block Party take overโ€ฆ

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All the way from the land down under, Australian Folk singer Ernest Aines is coming to Wiltshireโ€ฆ.

On his fourth tour of the UK throughout May and June, Ernestโ€™s tour coincides with the release of his new single, โ€œJust Onceโ€, coming out on 23rd May. I had the opportunity to give it a listen before the big release, and it is nothing short of fantastic.

The song opens with some plucked guitar strings and then leads into flawless vocals and harmonies. As a whole, it tells the story of an unseen love and all the emotions that go along with it. The minimalist instruments give it a down to earth, human feel and all in all itโ€™s a truly enjoyable listen. I truly would recommend it!

Aines is becoming quite a big name in the Folk world, particularly in his home turf of Melbourne where he has been twice nominated for Australian Artist of The Year, at the Folk Alliance Awards.

Heโ€™s not as big over here in England, so if you do want to check out some of his stuff, I would strongly recommend his 2023 album โ€œSpiral Boundโ€ as a great place to start โ€“ or his new single when it comes out would also be a good starting point.

His tour is taking him all over the place โ€“ from Cardiff concert hall, to live at the BBC studio, but luckily if you do want to see him thereโ€™s no need to travel too far, Ernest is playing at The Deanery Theatre in Swindon on the 24th of May.

With only a guitar and a stomp box heโ€™s known as a master of the stage. As an amateur musician myself, I can understand how difficult it is to fill a stage with just yourself and an instrument, but he has it down to a tee.  

I really do advise getting tickets while you can, or at the very least giving his new song a listen, Iโ€™ve got a feeling weโ€™re going to start to hear a lot more about Aines, and wouldnโ€™t it be cool when heโ€™s worldwide famous to be able to say you heard him first?

Aines will be playing at the Deanery Theatre in Swindon on the 24th May, tickets are available here and โ€œJust Onceโ€, out on the 23rd can be pre-saved here.

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Jake Martin: Heโ€™s a king, and it was in the Castle, with SOP Swindon

By Ben Niamor

Itโ€™s been way too long since I saw the irrepressible Jake Martin, and he did not disappoint, classic songs as ever, open, maybe even anarchic delivery.. he found himself in front of mostly familiar ears….

On tour with some friends on a multi head bill, having fun whilst often singing and talking of lifeโ€™s serious side, all of them; relationships, drinking games and mental health, all up for dissection and deliberation through song.ย 

Mexican Dave opened, a wisecracking confident man with a definite penchant for singing fast, and getting us to sing whilst other key figures in this scene, Gaz Brookfield and Ben B-Sydes become improvised captains for each side of the room in a chorus battle.. as you do! My friend and I sat either side of a table at the front wearing our respective captains tee shirts by coincidence amused us and Dave..!ย 

Blake Cateris, was the middle man in the line up, a little more settled and profound.. an Aussie in our midst. Perhaps more reflective, though, are some great songs, and having a look at his poetry book this morning, he is a great writer. About to set off for a 22 date tour in Germany before returning to Sydney, wish him well and hope to see him againโ€ฆย 

The headline, the main man, Jake Martin. Heโ€™s famously self deprecating and among the most appropriately described musicians in the folk punk remit. Your mother may not appreciate every turn of phrase, but his crowds always will!

I consider him an anthemic hero, all on the bill actively involving us, but none with such fervour, perhaps through widespread familiarity of his rousing songs. I am one to try for instance, of loving, failing and trying in equal measure.

Songs about relationships, poor decisions, mental health, and all with an openness that rarely is found in larger yet less enveloping venues and in many artists. Foot stomping common ground, for many present will have had these problems, for my part my antidote to the modern condition is music, so thatโ€™s how perhaps I should wrap up my ramblings, Jake and all the wonderful musicians that grace our venues are the antidote. All you need to do is go find some that work for you. 

I am pretty sure Ed (Dyer) will forgive me for likening last night as it nostalgically did for me, to the venue which opened this world for me, the fold in Devizes. It literally changed my life. Sadly gone yet seeing old friends and musicians alike roll eyes, and wax lyrical of shared nights such as this many years past, aware how important it is to seize the moment. 

There are great venues around and tirelessly passionate people, many among my friends, itโ€™s as simple as doing a little research, and getting out to support them.

Thankfully I wonโ€™t wait too long as aside from town gigs this weekend , I shall be back to Old Town for the incredible Wilswood Buoys at next week’s Thursday night club at the Castle.

Bands At The Bridge

Organised by Kingston Media – to raise money for Dorothy House and Wiltshire Air Ambulance – the 3rd of May saw Bands At The Bridge come to the Bridge Inn, Horton …

With the sun peeking out and the rain clouds temporarily parting I had the opportunity to head on down to Bands on The Bridge, a mini festival-style event at the Bridge Inn on the outskirts of Devizes. Organised by Kingston Media โ€“ in a step away from their usual publicity/catering work โ€“ the event saw eight bands and solo performers stretched across the afternoon and evening of the Bank Holiday Saturday, all in aid of Dorothy House and Wiltshire Air Ambulance.

From the moment of entering, you could feel a strong sense of excitement, and although the crowd wasnโ€™t big, they definitely had the enthusiasm side nailed as each of the performers was met with cheers and dancing.  

The first band I had the opportunity to see that evening was Burn the Midnight Oil. They started with a cover of Dreams and soon had everyone singing along, before launching into a set of original songs, which saw dancing, cowboy hats and even people howling like wolves for a short time (there was more context to it than that, I promise!).

Although all songs they played โ€“ other than one โ€“ were originals, they played them which such skill that without knowing their setlist beforehand you wouldnโ€™t have known that they werenโ€™t just covers of songs that you just didnโ€™t know, which can take a lot of skill to do right. All their songs were great, but Iโ€™d like to give a mention specifically to Scapegoat and Werewolf, which were my two favourites of the evening. It was clear their focus was on well played and polished originals, which they were fantastic at and which the audience clearly appreciated. 

Dreamcatcher came quickly next, a band that originally started as a Fleetwood Mac tribute, but their tastes broadened to encompass a load more songs of the same sort of style – although rest assured, they still had a healthy dose of Fleetwood throughout. Their 45 minutes setlist saw a variety of different songs, broken strings and even the sun (for a short appearance, which had everyone cheering) with a main focus on stuff from the 60s and 70s, the sort of songs that everyone would know and have a little dance to.

The Dreamcatchers played well, and despite the small crowds, it was clear the audience enjoyed their material and it fit in well for that kind of event. 

By far the most appreciated band of the evening were The 789s, a Bristol based events band. Itโ€™s fair to say they were some of the most skilled players of the evening, with their four-person line up seeing drums, bass, guitar and vocals. Once again, their setlist focused on well-known and easily danceable songs, seeing performances of Come On Eileen, Donโ€™t Look Back In Anger and many more that had everyone excited.

I had a quick chat with their lead singer Ally who said a lot of the songs she enjoys performing are 70s funk and disco style numbers and that that was what she grew up with around the house. Their high energy songs soon had everyone up dancing and singing along and it seemed that 45 minutes wasnโ€™t enough for the audience, after two back-to-back encores at the end of their set leading to a few extra songs, which were just as impressive as โ€“ if not better โ€“ than the rest of their set.

With their skilled instrumentalists, incredible talented singers and a well-polished setlist I thought it was perfect for this kind of event and clearly the rest of the audience agreed. Ally went on to say that the energy people gave her made it a really fun gig to be playing at.  

The last performance of the evening saw headliner Almost Elton take to the stage. By this point the audience were invested in whatever performance would come next, so he was met with a great reception after setting up a keyboard and mic followed by a quick outfit change into a feathered coat and a not entirely convincing wig.

He had a longer set than others, and being an Elton John tribute act ran through all the favourite songs of Mr John โ€“ even bringing some random audience members on stage to โ€˜helpโ€™ with the vocals on Donโ€™t Go Breaking My Heart. It was a good way to round off an event like this, everyone knew the songs, everyone sang along and everyone danced. 

All in all, Kingston Media pulled off an enjoyable event with some fantastic performers throughout the evening. As well as the four Iโ€™ve babbled about above Iโ€™ve heard great things of both Jane Bennetโ€™s and The Sitting Ducksโ€™ sets (and actually all of the rest of the performers) and was sad to miss them.

Although the crowds were a little small, that is completely normal and to be expected for the first year of this sort of event (and in fact, their first ever event of this type). They had the traditional festival atmosphere nailed and a great venue to go along with it. So, hereโ€™s hoping for it to be done again next year, maybe with a bit more sun though?! 

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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, heโ€™s released a new solo album called Playing Solitaireโ€ฆ..

Released yesterday (2nd May) Playing Solitaire is Philโ€™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, heโ€™s never been one to shy away from testing new waters. But the principle beauty of Philโ€™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 thatโ€™s precisely what youโ€™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 heโ€™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 isnโ€™t for you. For everyone else Playing Solitaire is beautifully crafted and passive, gorgeously taut and accomplished. Thereโ€™s no whimsical introduction. โ€œLook out world, Iโ€™m here to stay,โ€ Phil confidently announces without warning; good! Because Phil knows precisely how to construct a song, and itโ€™s this dedication to composition where he shines best. The opening song, Still Holding My Breath is quintessential Phil Cooper. Itโ€™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 weโ€™ve all been there. If itโ€™s a personal reflection, you identify, and the magic lies at the feet of this contemplation, the very magic of Philโ€™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 heโ€™s loved. Another peace of mind ballad follows, then Bijou comments on struggling grassroots music venues, and even if Iโ€™m not a musician, itโ€™s exceptionally touching and poignant. The passion Phil delivers this with and the construction of the riff, itโ€™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 weโ€™re in another foreboding place with Beauty in the Cracks, a frustration at progression, perhaps. Uptempo, and weโ€™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 weโ€™ve definitely arrived folk inspired by his work with The Lost Trades. Phil glows through a moving account of a frontline medic, and itโ€™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 youโ€™ve prepped nothing for this meeting, and heโ€™ll assure you heโ€™s done equally poorly, and then, at the meeting heโ€™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 thatโ€™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:ย 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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Clock Radio Turf Out The Maniacs

The first full album by Wiltshireโ€™s finest purveyors of psychedelic indie shenanigans, Clock Radio, was knocked out to an unsuspecting world last week. Itโ€™s calledโ€ฆ

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Theatre Review: Everybodyโ€™s Talking About Jamie by Devizes Music Academy

An effervescent musical, full of promising young talent

Written by: Melissa Loveday

Images by: Gail Foster

After the success of SIX last year, Devizes Music Academy is beginning to make a name for itself with its second musical production, Everybodyโ€™s Talking About Jamie, which featured two electrifying performances on 19th April at Devizes Schoolโ€ฆ.

And wow! What an incredible show it was! Bringing this musical sensation to life โ€“ including Northern accents, multiple set and costume changes and complex dance numbers โ€“ was ambitious. Yet after only a week of rehearsals, 23 talented young performers, aged just 13 to 18, poured their hearts and souls into a performance that was dynamic, professional and full of impressive talent. It had heart, humour and heels so high I wouldnโ€™t be able to walk in them, let alone dance!

Everybody’s Talking About Jamie

From the opening scene, it was packed with raucous energy and perfectly delivered sass that immediately transported us to a gritty Sheffield comprehensive, where Year 11s contend with the wonderful and frightening possibilities that lie ahead of each of them. Jamie New, an openly gay 16-year-old who dreams of becoming a drag queen, was instantly likeable as he and the rest of the cast swept us into his pop-fantastic daydream โ€˜And You Donโ€™t Even Know Itโ€™.

Everybody’s Talking About Jamie

Inspired by the BBC Three documentary Jamie: Drag Queen at 16, Everybodyโ€™s Talking About Jamie was written by Tom MaCrae with music by Dan Gillespie Sells, from an idea by Jonathan Butterell. First produced by Sheffield Theatres, the show took Londonโ€™s West End by storm in late 2017 and has brought infectious joy to audiences ever since.  

Everybody’s Talking About Jamie

But this is a story about more than a boy wanting to wear a dress. Itโ€™s a multi-layered tale of family and friendship, and having the courage to step into the person you were always meant to be. Set in a working-class area of South Yorkshire, England, the story is grounded in a world thatโ€™s relatable, keeping it from becoming overly sentimental. Instead, it feels edgy and vibrant, whilst not shying away from the struggles individual characters face.  

What made this amateur โ€˜Teen Editionโ€™ so special was the thrill of watching real teenagers bring these teen characters to life. Under Jemma Brownโ€™s expert direction, with vocal coaching by Teresa Isaacson and choreography by Sarah Davies, the cast delivered a level of talent that could easily hold its own on a West End stage.

Everybody’s Talking About Jamie

The whole ensemble was brilliantly cast, with every member delivering a believable storyline through genuine and multi-dimensional acting, powerful vocals and sharp choreography.

Jacob Leggett was made to play Jamie. At just 15, he brought the perfect mix of camp charisma and youthful innocence to the role, whilst also capturing Jamieโ€™s wit, cheekiness and vulnerability. His rendition of โ€˜Wall In My Headโ€™ was captivating, building beautifully into an emotional crescendo that gave me chills!  

Everybody’s Talking About Jamie

Meanwhile, Ruby Phipps gave Pritti, Jamieโ€™s loyal, studious best friend, a quietly headstrong presence. Her solo โ€˜Beautifulโ€™ was sung with elegant control, allowing each phrase the space and diction needed to feel both precise and spontaneous. Although she and other cast members werenโ€™t Muslim, the production honoured the spirit of diversity by respectfully representing the Muslim community, complete with hijabs.

As a parent, I was moved by Lisa Grimeโ€™s portrayal of Jamieโ€™s mum, Margaret, especially her song โ€˜Heโ€™s My Boyโ€™. It was heartfelt and mature, with excellent vocal range, and had me reflecting on the bittersweet truth that while we strive to shield our children from pain, life will inevitably hurt them, and yet we thrive on seeing them live authentically. Our children, in all their brilliance and vulnerability, are our greatest accomplishments.

Everybody’s Talking About Jamie

Another standout came from Cory White, who doubled as the school bully and Jamieโ€™s dad, whoโ€™s harsh lines stung, but showed subtle remorse that added depth to his characterisation.

Ted Maughan was commanding as Hugo and playful as Loco Chanelle, offering a refreshing contrast with his confident spoken-word delivery style and lively American accent.

Everybody’s Talking About Jamie

The set design was simple but effective, with props such as a balloon arch for the prom scene creating a party feel. Transitions between classroom, kitchen, bus stop and prom seemed to happen as if by magic, enhanced by effective lighting and seamless costume changes, from school uniforms to dazzling prom gowns. The spotlight reveal of Jamieโ€™s red dress was especially powerful, leaving the audience wanting more.

Dynamic choreography and colourful harmonies elevated the production, from coordinated group numbers to breakout moments allowing individual characters to shine. Particularly memorable was the schoolgirls’ clapping routine in โ€˜Spotlightโ€™, reminding us of the charactersโ€™ young age, while a dance duet between Cory White and Chloe Whitcombe during Margaretโ€™s โ€˜If I Met Myself Againโ€™ added a poignant, dreamlike quality to the song. But I especially loved the title number โ€˜Everybodyโ€™s Talking About Jamieโ€™, which kicked off Act II, with its excited, gossipy feel, as multiple characters bounced their individual lines off each other before erupting into an energetic and synchronised dance sequence that had the whole room buzzing!

Everybody’s Talking About Jamie

Itโ€™s genuinely hard to believe this was amateur musical theatre. The level of professionalism, emotional authenticity and pure talent displayed by every single cast member absolutely blew me away. These young performers truly brought a little bit of glitter to the grey.

With so much promising young talent on our doorstep, it begs the question: whatโ€™s next Devizes Music Academy? Whatever it is, I canโ€™t wait!

You can catch an abridged version of Everybodyโ€™s Talking About Jamie at the Fulltone Festival, The Green, Devizes, on Friday 25 July. For tickets, visit www.fto.org.uk

Beauty & the Beast; Devizes Musical Theatre at its Best

It was a fantastically successful opening night for Devizes Musical Theatre at Dauntseyโ€™s School for their latest show, Disneyโ€™s Beauty and the Beast, and I returned home still singing Be My Guest and Gaston; they’re still stuck in my head now truth be told, and I’m not usually one for musicals!

Remaining faithful to Disneyโ€™s 1991 adaption of the French fairy tale by Barbot de Villeneuve, widely regarded as one of the greatest animated films of all time, new director Georgia Watson and the entire team at Devizes Musical Theatre pulled out all the stops last night; amateur dramatics has never been this good, surely?!

Already clued up on the plot, as my daughter had a โ€œthingโ€ for the film when little, didn’t prevent me thoroughly enjoying this show, rather itโ€™s likely it aided it; familiarity transformed from film to stage is kingpin to a universally welcomed musical, which this is. Aside from the stellar performances, it was arduously and thoughtfully produced with attention to detail, especially the costume design; they were brilliant. Easy for a cartoonist, but how do you recreate inanimate objects such as a clock and teapot as characters on stage, I wondered beforehand, but not now!

And in this, commendations in particular go to Tia Shafee and Oli Beech, also Sarah Williams, Natalie Angus and Claire Abraham, all for adding those comical elements as candlesticks, clocks and teapots. Yet it was up to Georgia Saunders to add the sparkle, as the compassionate bookworm protagonist Belle, and her relationships with Samuel Phillis as the troubled Beast, Gareth Lloyd as the bawdy egomaniac Gaston, and Graham Day portraying her troubled inventor father, all of which were played confidently and rapturously.ย ย 

Interactions between Gareth and his literal sidekick LeFou, played with camp hilarity by Adam Sturges were comedy gold, as was the โ€œsilly girlsโ€ fighting for Gastonโ€™s affections, Georgia Claridge, Mimi Martin, Laura Bartle, and Bronwyn Hall. With special shout to Pip Emm who was last nightโ€™s Chip, a role which takes on a different young actor each performance, everyone on that stage looked to be loving the spotlight and this enthusiasm shone through, reflecting back off the audience in awe.

It never fails to amaze me how much work and effort goes into Devizes Musical Theatreโ€™s shows, and how professional they are. Beauty & The Beast runs until Saturday 5th April, with a matinee performance on the final Saturday. Ticket holders are in for a real treat, anyone looking for a ticket should act fast as the last rose petal is about to drop; last look there were some left for tonight, the rest is already sold out. At ยฃ16 a pop, youโ€™d pay more at the bar in a West End theatre for a glass of fizzy pop, or for parking.

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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 aโ€ฆ

Cracked Machine at The Southgate

If many space-rock acts have more band member changes than most other musicians change their socks, Hawkwind are the exemplar of the tendency. There might be some scientific theory for this, equally there may not. What is more probable is that it is an occupational hazard for members to get as lost in space as Dr. Zachary Smith. Cracked Machine, here tonight to provide the entertainment at the Devizesโ€™ Southgate, are also prone to getting through some keyboardists and drummers, though if the lead guitarist-frontman and bassist remain steadfast, this propensity is not the only element to them comparable with Hawkwind, and thatโ€™s a good thing in my opinionโ€ฆ..

If youโ€™ve any hazy recollection of a maintaining a horizontal posture in a bedroom for the duration of a scratched long player with a gatefold sleeve, staring at patterns either in the mould on the wall or blu-tacked Mandelbrot set posters covering them up, in a smoky haze proportionate to your memories and stenching of wood burner and red Leb, whether only with a bong for a friend or a few stragglers with no more conversation than the bong, save a few comments like โ€œoh wow, man, can you see it?!โ€ then Cracked Machine is the band to seek such fond memories, and bring them to the forefront of your fragile cerebral cortex, through a preponderance of sublime bassy rock bliss.

For if space-rock is a natural progression from Led Zeppelin, Flyod or Hendrixโ€™s overextended bridges of swirling sonic electric guitar skullduggery and wobbly sound effects, Cracked Machine nailed it some years ago and show no sign of altering their methodology. In fact, the tendency is to get harder. Though Hawkwind allowed vocals, Fromeโ€™s Ozric Tentacles may be a better comparison for space-rock aficionados.

In this, itโ€™s been some years since Iโ€™ve caught up with them live, despite reviewing albums one, two and three. It was left up to Ben Niamor and Andy Fawthrop to review their last two appearances at the Southgate, respectively in November 2022, and October 2018. For me, I will always have the 2019 Devizes Street Festival, when Pete of Vinyl Realm paid and hosted our local stage idea on the corner of St Johnโ€™s and townsfolk slow-roasted on deckchairs while Cracked Machineโ€™s definitive sound caressed their very souls. But while Cracked Machineโ€™s lineup has changed since then, their devotion to the sound and ability to knock it out to the shimmering rafters, isnโ€™t. 

In that, I knew what I was letting myself in for. It was another one of those birthday things for me, which always seems to charge me with ever-increasing speed. There wasnโ€™t actually much else happening in town Saturday night, much I wouldโ€™ve missed this for a wanton jig to Motown or some-other such-like, elsewhere. Suppose I had the option to go down the Bin afterwards, but as it was advised by Vince Bell who I met on the bus, such a recommendation had to be taken with a pinch of salt, and was best at 52 to get a taxi direct to my duvet! For a while there though, it was a party, as it is in The Southgate, with itโ€™s no frills hospitable atmosphere, affordable range of drinks, and general โ€œproper pubโ€ tenet. The affectionately dubbed โ€œGateโ€ doesnโ€™t change like band members of a space-rock band, and itโ€™s a cracking party there more often than not.

Tom Harris kicked off the proceedings with his guitar, belting vocals and the expressions of a hyperalgesic at the dentist. Impossible to fault, Tom delivers the banter as well as his songs, divides covers equally from originals, so if heโ€™s not charming an emotive blues ballad of his own pen, itโ€™s perhaps a scatological one or heโ€™s made amusing entertainment from a slyly chosen cover. Rob Thomasโ€™ Santana summer smoothie reflects the unusually clement climate for March, and Tenacious Dโ€™s hilarious Tribute was surely perfect for Tom, and he handled them with might, until drummer Gary Martin arrived from a support slot at the Pump with Clock Radio, and the main act was completed and ready to rock.

They didnโ€™t come up for air throughout these lengthy compositions of prog rock formulated instrumentals, and as a result of not taking advantage of the customary break, their set ran off too early. Landlord Dave encouraged them to pull something else out of the bag, saving the necessity of the crowdโ€™s cliche call for an encore, which you know wouldโ€™ve happened anyway. To which they considered how to continue, yet what elapsed was another drifting spacey masterpiece of fifteen minutes or more. We loved it.

If the template of Cracked Machineโ€™s sound is arguably narrow, and narrative is vague due to only being expressions of instruments, their nature is stylised, and works wonders, creating a spellbinding ambience. Cracked Machine are always welcomed by the Southgate regulars, for even if the pub strives to diversify, itโ€™s electric blues and prog rock which they favour, and this, with those wobbly keyboard noises and subtly placed samples, is simply a psychedelic progression from it which is decades old, yet Cracked Machine proves itโ€™s worth in the modern world.

Space rock, or acid rock, a direct descendant of Pink Floyd and Zepโ€™s tolkienesque The Battle of Evermore, also acts as the bridge from rock to electronica and ambient house, a bridge the guarding troll usually confounds most rock subgenres with a riddle and renders them unable to cross, thatโ€™s why I love it, and thatโ€™s while I will only have good things to say about Cracked Machine.

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You; Lucas Hardy Teams With Rosie Jay

One of Salisburyโ€™s most celebrated acoustic folk-rock singer-songwriters Lucas Hardy teams up with the Wiltshire cityโ€™s upcoming talent who’s name is on everyoneโ€™s lips, Rosieโ€ฆ

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Bands At The Bridge

Organised by Kingston Media – to raise money for Dorothy House and Wiltshire Air Ambulance – the 3rd of May saw Bands At The Bridgeโ€ฆ

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Between the Lines; Melkshamโ€™s Upcoming Teen Band

We remain in awe of the deserved success of indie-pop band The Sunnies, which has continued to flourish since winning Take the Stage at the Neeld two years ago. But is their hometown ready for the next big teen sensation? If so, Iโ€™m predicting it will be Between the Lines, because it should be Between the Linesโ€ฆ..

Last weekend The Sunnies headlined a town councilโ€™s 4Youth โ€œNext Gen Gigโ€ at The Melksham Assembly Hall. Being just a smidgen over the age limit I missed this, but a video of the support act, Between The Lines, shared on social media caught my eye, or at least, my ear!

Formed five months after The Sunnies took the Neeldโ€™s stage, in October 2023, Between The Lines are smooth indie-rock female-fronted four-piece, consisting of bassist Belle upfront, lead guitarist George, and Ethan and Louis, who both switch between drums and guitars, the latter being the rhythm guitarist.

They put out a demo single, Fading Time earlier this year, with an irresistible classic rock riff, some nonchalant and confident vocals, and an enchanting hook. Itโ€™s raw, for sure, but a grower. Its ingredients blend wonderfully, painting a melancholic picture of adolescent romance; the tune is moreish, and blossoming to bursting point with potential.

โ€œFading Time was the only song we recorded in that session,โ€ George explained, as I thought I should catch up with them, sooner rather than later, โ€œbut there are exciting new ones due to be released very soon.โ€ I look forward to hearing them; progression feels imminent with this promising new band; you should keep an eye out for them.

With the band members currently studying music courses at either college or sixth form, I always like asking teenage groups what their music teachers thought of their band, poorly assuming it’ll break the ice! Even if referencing their education is highly unlikely to do that, I tend to stereotype teachers in retrospection of my own, wondering if they retain the doddery notion rock music is the โ€œwork of the devil,โ€ and attempt to throw classical violin at them, or theyโ€™ve modernised, least enough to be hip to be square on a Huey Lewis level!

Louis answered this one, elucidating Georgeโ€™s and his music teacher had, โ€œsupported our band on multiple occasions, with gig opportunities and equipment in the past, and has always been enthusiastic about it. Fortunately, no classical violins!โ€ Ah, got you. Our music teachers used to be funky too, though only in the archaic definition of being unpleasantly smelly!

Ethan expanded on this, and moved onto their first few gigs. โ€œMy drum teacher was always telling me to form a band and after talking with Isobel,โ€ He said, โ€œshe was adamant to get something going. Through music GCSE, we started Between The Lines, playing songs with each other for assignments and eventually starting regular rehearsals. Weโ€™re still new to the gigging scene, and have performed at the Kings Arms in Melksham and The Queenโ€™s Head in Box.โ€ The latter being a fortunate venue to play so early, Ethan also went on to reveal theyโ€™re on the bills for Box Revels in May and CorFest at Corshamโ€™s rugby club on June 21st.

George explained how theyโ€™d heard of The Sunnies before they had formed, upon me cheekily asking them if they thought they were the next big thing to come out of Melksham; youโ€™ve got to big yourself up in the Sham, theyโ€™ve got a golden arches, and Henry Moule inventor of the dry earth toilet, as claims to fame!

โ€œWell, hopefully!โ€ he laughed, but remained modest. โ€œIt really was great to play with people that youโ€™ve looked up to, in a way, and of course they bring such an energetic and fun performance which is something to be fond of. As for us, it’s exciting to see lots of new people enjoy what we do and it brings a lot of motivation for us to keep moving forward and expand as much as we can, it’s only up from here.โ€

Based solely on this single, I strongly hope and suspect it will be, so we moved on to the demo, Fading Time. I suggested the opening riff reminded me of the intro to Sweet Home Alabama combined with a dollop of Natalie Imbruglia’s Torn, even if itโ€™s showing my age, itโ€™s an accolade. I wondered if this smooth feel-good indie-pop rock was the kind of quality they were going for.

โ€œThe song itself came from a simple melody idea that I had for ages never necessarily taking any inspiration from others,โ€ George expressed, โ€œand we bounced back and forth from each otherโ€™s ideas until we recorded it in the short space of time we had.โ€

Ethan expanded on the backstory of Fading Time, in answering that cliche question I fired at them about their working process. โ€œSo far,โ€ he clarified, โ€œour originals have stemmed from one idea. For example, โ€˜Fading Timeโ€™ came from a melody idea from George and our unreleased single developed from a project I created for a college assignment. We then developed the song together to add a little bit of each otherโ€™s personality in our parts. We are fairly new to songwriting as weโ€™re mainly a cover band but we all develop our own little ideas and send them to each other!โ€

Their current repertoire includes covers of The Foo Fighters, Radiohead, and Chris Isaak, among others. โ€œWe try to choose covers that are both crowd-pleasers and that reflect the same vibes as our originals,โ€ Belle expressed.

Between The Linesโ€™ website cites Radiohead and Matt Maltese as influences, Belle expanded on this, โ€œas the main lyricist of the band,โ€ she suggested she took inspiration from โ€œvery poetic artists, like Boygenius, Fiona Apple and Bon Iver. Ethan focuses on instrumentation, inspired by Big Thief and Better Oblivion Community Centre. George is all about the hooks and guitar riffs, heโ€™s influenced by Wallows. Louis works on a strong rhythm, taking from Foo Fighters and Seal.โ€ 

Phew, at least the last two my dilapidating database has heard of! Youโ€™ve got to love Seal, I saw him live once, but he didnโ€™t do Kiss From a Rose nor Crazy, just balanced a beach ball on his nose and clapped his flippers. That was the last time I went to a gig at the Sea Life Centre.

As a finale, I pondered whatโ€™s in the band name, perhaps they met in a history class about WWII, you know, between enemy lines … .perhaps, ah, forget it, Iโ€™ll get my coat! When actually, Belle revealed rather than history, they did meet in GCSE music, โ€œdoing a project for the Christmas concert!โ€ Not too far off the mark then, just the wrong lesson, which goes in line with my own schooling. I was often found in the wrong lesson, and if I was in the right one, I tended to be somewhere else mentally; kind of explains a lot.

โ€œChoosing a name for the band was quite difficult,โ€ Belle said, signalling her vast music knowledge supersedes her age, โ€œeveryone suggested different names every day. Ethan suggested the name In Between The Spaces, which reminded me of two things – Between The Bars by Elliot Smith and especially the album Between The Lines by Janis Ian. After numerous ideas for names we decided on Between the Lines!โ€

Deliberating on a band name is important, it might fatefully fade into obscurity as the competition of a tough market to break takes its toll, or it could be that name in lights for decades to come. I wish Between The Lines all the very best with their ambitious beginnings, and very much hope the result is the latter.

I advise you to support new local talent and follow their socials, TikTok, and website here, as while Iโ€™m no clairvoyant, I know what I like, and predict we will be hearing a lot more good stuff from Between The Lines in the near futureโ€ฆ..

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No Alarms No Devizes, Aptly in Devizes!

If I’ve been galavanting recently, gorging on other local townโ€™s live music scenes, what better way to return to Devizes than a visit to theโ€ฆ

Wiltshire Music Awards Website Goes Live

Last month we were pleased to announce our involvement with the new Wiltshire Music Awards in conjunction with Wiltshire Events UK, details of which areโ€ฆ

SwinterFest Broke Me Out of Hibernation!

Like a hedgehog poking his nose out of the bracken, just a few hours on the Sunday at Swinterfest was enough to cure me of my hibernation, which seems to lengthen with each year and causes me to worry the attraction of warm, cosy nights in might seclude me forevermore, and Iโ€™ll never see a chap strum a guitar again!

I was only at the Beehive for ten minutes before wishing Iโ€™d got here sooner, three days sooner! Swindon Shuffle organisers decided to create a winter version for last weekend, and speaking with both Ed Dyer and Jamie Hill of Swindon Link and Ink, they were wary if it would be as successful as their annual summer extravaganza. Exhausted by Sunday but still positively beaming with enthusiasm, Iโ€™m glad to report Ed signed the event off as a huge triumph.

Crowds turned out to the respective pub venues on each day; Thursday at the Hop, Friday at the Vic, Saturday at The Castle, and Sunday at the Beehive. A colossal selection of the South Westโ€™s finest musical talent united to raise some wonga for the Prospect Hospice, as they do with The Swindon Shuffle and My Dadโ€™s Bigger Than Your Dad festival. 

The team assembled for the final showdown at the Beehive, which is a crazy-good watering hole aptly on Prospect Hill; I could resist no more. From Courting Ghosts and Canuteโ€™s Plastic Army to Will Lawton, George Wilding to I See Orange I sadly missed many of my favourites, even our wonderful M3G and Devizes-own Nothing Rhymes With Orange; what can I say in my defence? Would central heating, cosy sofa or homemade stew cut the crust?!

Despite it being a whistle-stop, I was so glad to be reunited with Swindonโ€™s premier Americana collective Concrete Prairie. At one point I was close to becoming their groupie, unfortunately our paths havenโ€™t crossed for a while. Seconds into their set why Iโ€™ve claimed theyโ€™re better than sliced bread came flooding back. They were, for want of a technical evaluation, absolutely and steadfastly, one-hundred and fifty percent on fire.

I donโ€™t know if it was the fact the Beehive is one of their favourite venues to play, if time had eroded my expectations of them, or theyโ€™ve polished their already proficient skills, or maybe because they opted for their more high-energy originals, or possibly now those songs have become classics fans chant them back at them, but wow, just wow!

I was introduced to Clarie, their new fiddler, previously informed she fitted like a glove into this astounding band, and they weren’t fibbing. It is in their unification where sparks fly, if individually theyโ€™d reach a level of greatness naturally, together theyโ€™re solid and tight. Concrete Prairie is the whole deal for dark and foreboding themed country-blues-rock which takes you on a mood-changing journey; they could play disco and still rouse the hairs on the back of your neck, dammit! (they donโ€™t though, for the record!)

Prior to their invigorating explosion I was delighted to find a new love. From Newport, Joe Kelly & The Royal Pharmacy were truly a blessing. Described as a chameleonic presence, in so much as he plays solo, or his masterful originals are fleshed out with the three-part vocal harmonies, guitar and keyboard combo of his backing band the Royal Pharmacy. Joe explained the versatility of his band contained missing elements today, of drums and bass, which when added could evoke the harder rock ambience of a five-piece, on occasions, but the harmonious delivery of folk-rock masterpieces was plentiful for me to decide this outfit is something I could perpetually return to.

Perfectly pitched between smooth and rustic, Joeโ€™s authentic raspy call of expressionism is breathtakingly emotive, his canvas is projected outwards but his brush operates inwards. It conveys that timeless fidelity and sense of personal reflection and identification of Guthrie or Dylan, with the gusto of Geldof or Petty. It is, in a word, gorgeous; music for the soul.

Through his self made independent record label, Dirty Carrot Records, thereโ€™s a selection of their recordings to check out, I recommend you do, and theyโ€™re showcasing their local circuit with five other artists on the books. Joe Kelly & The Royal Pharmacy timelessly embrace every classic element of folk-rock, the emotional poignancy, sincere homespun fashion, the evoking sound, and project them outwards nothing short of sublimely, encapsulating an audience you really need to be in!

And that was only two of the thirty three acts booked to perform at the inaugural Swinterfest last weekend; imagine the length of my waffling if Iโ€™d see anymore! Jamie at Swindon Link wore the Swinterfest T-shirt out and gave a more comprehensive evaluation, here. Me? Iโ€™m more of a Catchphrase contestant than a music journalist, I just say what I see, and those bottles wonโ€™t deliver themselves, so, I had to retire from the bustling Beehive, disappearing into the night; milk and honey not mixing well this time. Shame, because I missed Erin Bardwell and the Subject A gang, and SN Dubstation, despite knowing theyโ€™re both up my street and knocking loudly on my door.

The most important part to all this was questioning the big chief organiser of the Shuffle and now Swinterfest, Ed Dyer, if heโ€™d make this an annual thing, and there was absolutely no sign of doubt in his tone that he would. Interestingly he suggested incorporating other arts into the mix, suggesting comedy, poetry and drama. The idea was to separate it from the music dominated Shuffle, so it lives in its own domain and isnโ€™t viewed more simply as a winter version of the Shuffle. But as Jamie expressed, what they know best is music, so they went with that to begin with, and they certainly do!

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Soupchick in the Park

And there was me thinking nothing good comes out of a Monday! Today local bistro Soupchick, popular in the Devizesโ€™ Shambles opened their second branch,โ€ฆ

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Family Easter Holiday Events

Devizine isn’t only about music and gigs for grownups, y’know? It’s about events for everyone. This Easter we’ve lots of things to do over theโ€ฆ

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Devizes Musical Theatreโ€™s Next Production; Beauty & The Beast

If I had to be magically turned into a candlestick or a teapot, I believe Iโ€™d rather be a teapot than have a wax candle on fire wedged into the top of my head! Fear not, itโ€™s not a worry Iโ€™m losing any sleep over, rather the kind of bizarre fleeting notion which popped into my mind when previewing Devizes Musical Theatreโ€™s next production, Beauty & The Beastโ€ฆ.

The wardrobe is definitely out of the question, anyway I digress! For if thereโ€™s one local amateur theatre collective to make you question the definition of โ€œamateurโ€ itโ€™s Devizes Musical Theatre, in my experience. To pay a kingโ€™s ransom for a West End production is to expect, much less assume, youโ€™re in for a treat, but to see the dedication and hours of labour which goes into an amateur production like those of Devizes Musical Theatre, is the surprise element, that the magic isnโ€™t so far from a professional production.

So, get ready, Gaston, for a tale as old as time, as Devizes Musical Theatreโ€™s curtain is rising once again for Beauty and the Beast. Itโ€™s running from Wednesday 2nd April โ€“ Saturday 5th April 2025, at Dauntsey’s Schoolโ€™s Memorial Hall in West Lavington and tickets are available now at www.devizesmusicaltheatre.co.uk or Devizes Books.

Devizes Musical Theatreโ€™s last sold-out show was Sister Act back in March 2024, of which I reviewed and said โ€œitโ€™s the combination of their motivation and exceptional effort which makes this such a dynamic show, coupled with the elementary notion, Sister Act has universal appeal and is simply fun on a stick!โ€ But no one listens to me, so please note the show was nominated for Best Musical and Best Publicity at the prestigious Rose Bowl Awards.

โ€œTickets are already flying off the shelves,โ€ weโ€™re informed, so donโ€™t miss your chance to experience the magic of live theatre right here in our community. Whether you laughed with the nuns, hissed at Curtis and his baddies in Sister Act, or youโ€™re a newcomer to the DMT productions, this show is guaranteed to leave you spellbound; be their guests, be their guests, be their guests!

New Album from Illingworth; Man Made of Glass

Four years of hard work in the making, and it sure shows, Man Made of Glass, the third album from John and Jolyon, aka Illingworth, is released across streaming platforms this week. If youโ€™ve seen this Salisbury duo performing on the circuit, the unyielding passion they inject into the obligatory classic rock covers set isnโ€™t half of what they put into their own compositionsโ€ฆ..

Pardon me if you came here for a respite from the onslaught of inflammatory international headlines and to read a nice music review, Man Made of Glass contains much prose on the tyranny of contemporary politics. As the idiom is defined, this narcissistic disorder of egotistical figureheads is fragile and therefore likely to shatter manifests abstractly, particularly in the title track and single Gaslight, but hey, I think itโ€™s safe to say we know the people it is directed towards.

Itโ€™s a floating opening, building in layers, this title track, richly written even if poignantly critical of power corrupting. As ever with Illingworth thereโ€™s this breezy air of feelgood rock too, of Foreigner or The Cars, which enriches the sound naturally. Soulless might be the subject, but soulful is the expression; itโ€™s a contrast.

Superior single Gaslight does similar theme-wise, but as powerful as an indie rock anthem, and rolling on a tougher riff than the title track, throughout, it takes the manipulation of its titleโ€™s term to the worldly encouragement of avoidance; this โ€œdonโ€™t be convinced by propagandaโ€ concept.

Bittersweet is the general ambience Illingworth delivers with here, and thatโ€™s no new thing in rock, but they do so with such passion and expertise it polishes the delivery and leaves you feeling alive and stimulated, with nothing bad you could possibly say about their songs. They are rich with honesty over vanity, reflecting on the theme. Gaslight may be the kingpin to the album, the running motif becoming less prominent in the other tracks. Every tune is a beauty though, embracing all stimulating elements of being uplifting, inspiring and catchy, just subtly with differing moods and tempos.

We Donโ€™t Have to Try is a country-rock ballad on an eternal love subject, whereas, Heart To Rule Your Head, is an inspiring โ€œyou can get it if you really wantโ€ upbeat track. 

Another Passion is upbeat too, of if, buts and maybes, whereas New Year is arousingly paced, reflecting on the unification and love perpetrated by the annual occasion. Love conquering over evil becomes the inclusive factor as the album drifts archetypically. This conquering notion to avoid the brainwashing of those seeking power lessens somewhat in favour of identifying affections, yet never fully expires. The finale is not to let it worry you, as the matter will shatter like glass.

While great, if previous Illingworth albums can feel fragmented, like randomly placed collections of their memorable songs you rarely hear enough of when theyโ€™re gigging, Man Made of Glass is more rounded, it has an overall concept. Like a classic rock album, the tracksโ€™ narratives combine and flow wonderfully. Itโ€™s not a โ€œconcept album,โ€ per say, but in the same classic fashion, and thatโ€™s a welcomed rare find these days of media overload and the average attention span of a goldfish!

Man Made of Glass is more suited to a vinyl, CD or cassette format, of a time when album composition contained an all-inclusive message, and you sat in the dark listening to it. Just like those albums of yore it feels like something to cherish, a testament to a bleeding heart of sentiment you identify with and get emotionally involved with, rather than simply hearing it while you wash the dishes. But hey, streaming is the mainstay these days, and thatโ€™s where youโ€™ll find this treasure buried.

Apple Music Link

Amazon Link

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Situationships With Chloe Hepburn

A second single from Swindon Diva Chloe Hepburn, Situationships was released this week. With a deep rolling bassline, finger-click rhythm and silky soulful vocals, thisโ€ฆ

Devizes to Host New County-Wide Music Awards

I’m delighted to announce Devizine will be actively assisting to organise a new county-wide music awards administration, in conjunction with Wiltshire Music Events UK. Theโ€ฆ

Ruby, Sunday at the Gate

It’s a rarity that I should drag myself off the sofa on a Sunday these days, one usually reserved for the monthly Jon Amor Trioโ€ฆ

โ€œJerusalemโ€ at the Mission Theatre, Bath, January 21st-25th.

By Ian Diddams
Images by Gail Foster

What is reality? Is it the cold light of everyday activities? Is it the symbiosis of contemporary time and ancient natural forces beyond our ken? Is it the raddled memories of mind altering drugs? Or is it a mixture of all of those combined, as personal perception sways between LSD flashbacks, inexplicable encounters, and simple bullshit?


Next Stage Theatre Company bring Jez Butterworthโ€™s 2009 play โ€œJerusalemโ€ to The Mission Theatre, Bath, this week. In a thinly disguised setting of Pewsey (Wiltshire), which is named Flintock but where the pubs names are all real pubs, the play centres on the character of Johnny โ€œRoosterโ€ Byronย (Richard Chivers) who along with other characters in the play are based on actual Pewsey-ites, some of which still live in Pewsey today.

The story is a twenty-four hour period of Byronโ€™s life, focussed on fair day on St. Georgeโ€™s day, and his interactions with his loyal friend Ginger (Sam Fynn), various hanger-on young people (โ€œratsโ€ as he calls them) Davey (Bryan Mulry), Pea (Sophia Punt), Lee (Jonathan Taft), Tanya (Miranda Webb), the senile Professor (Dave Dunn), somewhat dodgy publican Wesley (Brian Hudd), ex-girlfriend Dawn (Tania Lyons), local council officials intent on evicting him Mrs Fawcett (Tania Lyons) and Mr. Parsons (Andrew Ellison), Byron’s son Marky (Spike Fynn), and the lost teen Phaedra (Dilys Hughes) and her angry dad Troy (Andrew Ellison).

As the course of the day and night unwind, we experience Byronโ€™s warped vision of his world as he tells ridiculously tall and impossible tales interspersed with somewhat surreal anecdotes and harsh truths. We see he is a very flawed character โ€“ he is in no way a hero, and very much an anti-hero. His criminal and abusive nature is laid bare, where he despises everyone that surrounds him, even his longest lasting and loyal friend Gingerโ€ฆ with the exception of Marky his son, who he shows genuine affection for (while avoiding any paternal commitment), the Professor and seemingly fifteen year old Phaedra โ€“ about whom we are left with a rather disturbing suspicion as to their underlying relationship.


The set is wonderfully portrayed as a clearing in โ€œRoosters Woodโ€, all ramshackle a mess as you could possibly imagine as an illegal encampment of a broken down caravanโ€™s site surrounded by old garden implements, wood burning stove, boxes and crates, woodland detritus and the remains of Byronโ€™s own drug addled vandalism amongst other assorted accoutrements. Ann Ellison directs the show with an exquisite touch over the banality and failure of Byronโ€™s life โ€“ as well as creating the set along with Brian Fisher โ€“ and the performance though lasting over three hours rattles along at such a high pace there is never a dull moment. Neat little touches abound โ€“ as characters get drawn into Byronโ€™s world, they become coated in straw and woodland detritus, while Byron himself stays clean of these. It is telling that as Lee is to leave Flintock for pastures new far away he is clean of all this woodland connection. Even the Professor ends up covered in straw as his own senile alternative reality merges seamlessly in the renegade aura of the campsite.

Tech is provided by Kris Nuttal, Brian Howe, and Andrew Ellison as they set the scenes of bright morning, sun dappled afternoon and dark and threatening evening. No spoilers here but some cleverly worked backlighting towards the end relieves the audience of unpleasantness while leaving nobody with any doubt as to what is happening. Vanessa Bishop leads costume to perfectly place the setting in the modern day.

Which leads us then back to the actors. A lovely mix of ages as befits the story, all sell their characters believably. I was so drawn in at one stage it was a jolt when I realised that I was watching a work of fiction, and this wasnโ€™t โ€œrealโ€ โ€“ so kudos to the company for creating a fully immersive environment here. Richard Chivers is quite simply superb as the thoroughly egocentric but dangerous Byron. Sam Fynn is wonderful as his lifelong and lost, almost desperately childlike, sidekick Ginger. The “teens” of Jonathan Taft, Bryan Murphy, Sophia Punt and Miranda Webb believingly display youthful male exuberance and teenage slapper. Dave Dunn portrays the heart tearingly sad bewildered and confused doddery old man. Brian Hudd is cringingly excellent in his portrayal of the seedy and low-level dodgy publican who is really no different to the teens while in his own way abusing them as much as Byron is.

Spike Fynn gets Marky spot on as a conflicted nine year old โ€ฆ  โ€œDo I love my dad? Do I like my dad even? Do I trust my dad?โ€. He sells his character precisely through his physical acting as much as Butterworthโ€™s lines. Tania Lyons and Andrew Ellison double up their parts seamlessly โ€“ to the extent that especially for Tania I hadnโ€™t even realised she played two parts until I checked the program after the show! And Dilys Hughes as Phaedra is quite sublimeโ€ฆ  ethereal, fairy like, other worldlyโ€ฆ  and even when that dreamy existence comes crashing into real life, she still keeps an entirely child like innocence despite our suspicions that what happened in Byronโ€™s caravan may not be so innocentโ€ฆ

So โ€“ back to reality. Or various versions of it. From fairies and elves, tall tales and taller creatures, natureโ€™s ancient powers. Drugs. Dreams. Cognitive breakdown. Youthful inexperience and ignorance. Bullshit. All of these variations feature prominently in Jez Butterworthโ€™s powerful text, culminating in Byronโ€™s final monologue as his life crumbles around him and he calls upon everything in his warped mind to help him as he subconsciously seeks an answer to the big question, which he has already passed the point of rationalising…

What IS reality?

“Jerusalem” by Jez Butterworth is performed by Next Stage Theatre Company at The Mission Theatre, Bath between January 21st to 24th at 7.30pm, with a matinee on Saturday at 2 pm.

Tickets from https://www.missiontheatre.co.uk/tickets or on the door if any left.

Burn the Midnight Oil; New Devizes-Based Band Youโ€™ll Be Hearing a Lot Aboutโ€ฆ.

Far from burning the midnight oil, itโ€™s a weekday afternoon and Iโ€™m with a cuppa, at a rehearsal for a blossoming Devizes-based trio, Burn the Midnight Oil. If youโ€™ve ever thought nothing great comes from open mics, this might be the thing to change your mindโ€ฆ.

Itโ€™s early days, forming in September, theyโ€™ve created a corporate identity, recorded a three-track demo theyโ€™re planning to launch, are busy writing more songs, and sound as if theyโ€™ve been on the local circuit forever. I wanted to catch up with Burn the Midnight Oil to find out how theyโ€™ve come so far so quickly, dig a little deeper into their backgrounds and generally poke my nose into their business.

First clue, theyโ€™ve varying areas and degrees of experience in music, but have found common ground through their medical issues. Front girl Chrissy, aka Steen, spoke of her PMDD, GAD and ADHD, and coming to faith during Covid at Devizesโ€™ St James. โ€œThere was a day I was like, really, really sobbing my heart out, and praying,โ€ she expressed, claiming she heard the โ€œbiggest, boomiest voice ever say โ€˜sing,โ€™ and two weeks later I was having videocall with a huge hip hop artist who was part of Foreign Beggars, which were massive during the 90s and early noughties.โ€ Landing a deal working for a record label Chrissy liaised with drum and bass producers, who asked her to โ€œjump in on the tracks,โ€ and she supplied vocals on tunes from artists like Beskar.

โ€œIt feels a bit serendipitous,โ€ she said, โ€œbecause I had no experience working as a social media manager, I had no business connecting with somebody who’s quite prestigious and I had no right to just jump on some tracks and with my first EP release going straight onto one of the biggest drum & bass labels in the UK.โ€ To which she compared the unforeseen development to meeting the band members, Andy โ€˜Big Birdโ€™ Jacobs and bassist Chris Lane.

Chrissy explained Chris has Marfan syndrome, โ€œI’ve known Chris for a while, but he’s very introverted,โ€ she elucidated, progressing onto finding a mutual neurodivergent connection and being a support system for each other. Chrissy formed a duo with a bassist called One Trick Pony, performed at a few open mics and organised charity fundraisers at the Southgate over the past two Christmases. When the bassist was unavailable due to other band commitments Chris stepped in, and they spawned the idea to reform the duo under a new name. Though not present at the beginning of our chat, Chris did turn up toward the end, either shy or forgetful as to just how many bands he’s currently engaged in!

Present and vocal throughout, lead guitarist Andy, told of a car accident which affected his nerves, and most of the dexterity in his fingers. Prior to this, Andy spoke of being a โ€œvery successful professional guitarist in London,โ€ a session and theatrical guitar player, citing Shirley Bassey as an artist he had worked with.

โ€œI could still play a bit,โ€ he explained, โ€œbut my career was over, which was a bit of a downer.โ€ Playing his part in an amateur blues band, Andy went into social care management, โ€œbut Covid triggered an illness in me called Barry Syndrome,โ€ he told me, โ€œWhich completely paralysed me from my neck down overnight. I was in hospital for six months. My wife was told I probably wouldnโ€™t last the night. On the two occasions I didn’t see her for six months because there was no access, I was told I’d never walk again.โ€

Andy put his recovery down to the bicycle in the gym, and though he didnโ€™t imagine he would play guitar again, he expressed, โ€œit was all a bit tragic and horrible, but slowly I got a little bit back and I started picking the guitar up again. After about six months, I came out of hospital. I just started playing again, just acoustic, and I that’s when I went up to The Crown [open mic at The Crown, Bishops Cannings] and I played a couple of pieces there.โ€ Within those pieces, he asked Chrissy to sing them.

They trialled a drummer, โ€œbut he wasn’t the right fit and he knew he wasn’t,โ€ Chrissy said. โ€œSo he very graciously said I’m going to walk away from this because I’m not the right drummer for you, which is a really nice thing to say. But I think we’re percussive enough with how we play.โ€ Considering their medical tribulations they joked about getting the legendary one-armed drummer from Def Leppard. โ€œYou know, like one arm, one leg, not as long as they’re opposite sides of one another, one each side, that would be silly!โ€

Now, if music is therapeutic, I wanted to gage if that was their reasoning for the band, but burning the midnight oil isnโ€™t best medically advised over a strong cup of coco and an early night! Chrissy explained the band name derived from her staying awake all night drafting the songwriting, rather than the notion they were rock, rolling, and burning the candle at both ends.

Chrissy passionately talked of being a survivor of domestic abuse. โ€œIf you’re a woman with ADHD, you’re more likely to attract people with narcissistic tendencies,โ€ she explained, justifying her โ€œhorrible cycleโ€ sheโ€™s trying to break, โ€œof quite abusive relationships,โ€ and how this is reflected in her songwriting. โ€œThere’s a lot of resilience and hope that comes from the songs. I’m on a journey of healing. I think we’re all on a journey of healing, and Iโ€™ve always used the music as a form of therapy. If I can get my experiences onto paper, it’s like I’m not affected by it.โ€

Andy agreed, spoke of his consistent neurological pain, โ€œbut when I’m playing it just goes. I don’t think about it. I’m just so intense in the music. I mean, it’s just my passion.โ€ He began reminiscing of his instant attraction to guitar when, on his first day at secondary school, the music teacher putting a guitar in his hand, and that was his calling.  โ€œI wanted to be a professional guitar player, and nothing would stop me.โ€

If this is all beginning to feel like Iโ€™m in a support group here, the proof is the pudding, and the three tracks theyโ€™ve put down so far suggests otherwise. With harmonica and wavering strings opening, Lock Up has a rootsy blues feel, Chrissyโ€™s vocals poignantlyย express the theme of the arrival of mysterious and dubious fellow, expertly, and the whole vibe is nonchalant and smooth.

Scapegoat ushers in a more upbeat bluegrass air, with a deadpan subject, and Werewolf posing similar tenet, yet tips back into blues, and probably contains the most beguiling hook. Throughout though, thereโ€™s an intelligent balance between Americana and UK folk-rock, bags of potential, and the stylised promise of a blossoming band heading for something far greater.

In trying to think of a suitable female-fronted comparison, I changed to consider The Doors in the end, for the composition of three individuals with varying influences combining to create a timeless sound is how Iโ€™d pitch them both. On songwriting Chrissy connoted a song she was working on called Devil You Know, โ€œbecause statistically you’re more likely, as a woman, to be raped by somebody you know,โ€ she said. โ€œIt’s not about being dragged into the bushes, and that’s been my experience I’m really trying to connect with, those darker sides of life experiences, because life’s hard, it’s not any an easy ride for anyone.โ€ Using a metaphor comparing a paper cut to a broken leg, Chrissy conveyed an expression she said she was fond of, that โ€œpain is pain. I really want to connect with people of over-shared experiences like this, in the hopes that music could be healing.โ€

It’s the most common conviction of dedicated singer-songwriters to want your audience to identify with your outpourings, otherwise your voice is just an instrument, and you are just a pop singer. Though within the masses of potential for Burn the Midnight Oil I hear scope for commercial viability, itโ€™s through their personal reflections and devotion to support one another which I feel will strengthen their ability to convey the image they desire. After a successful first gig last weekend at The Kings Arms in Amesbury, arranged by Wiltshire Music Events, Burn the Midnight Oil are looking forward to a fundraiser at the Devizes Southgate on Sunday 22nd December. See the poster below, thereโ€™s raffle prizes et al.

Chrissy has a solo set at the Lamb in Urchfont this afternoon (15th Dec) supporting Vince Bell, the most modest of Devizes acoustic legends, who Chrissy cited as assisting her in developing her songwriting talent. Promising things are afoot here, and youโ€™ll be chuffed with yourself to witness it blossoming, I believe.

โ€œSeeing us as a brand and my understanding of working in the industry,โ€ Chrissy figured, โ€œis like, actually the music isn’t the product, we’re the product and I really want to share that journey, make it personal for everybody.โ€

With folk songs drafted about the origins of tiramisu, odes to Morticia and Gomez Addams, Steen justified her thought processes and random muses, the latter being an โ€œepitome of a really healthy, loving relationship,โ€ in a tenacious yet optimistic manner to direct her developing subjects didnโ€™t all focus on โ€œthe bad things that happened to me.โ€ Though I find itโ€™s the ability to use such as metaphoric examples and include them into a combination which will really make the hairs on the back of our necks stand up, and theyโ€™ve the greatest potential to do this.

ย I’m hoping one day I can write a happy song,โ€ she mused, โ€œbut the style is, well, you know, you donโ€™t choose the songs, the songs choose you.โ€ And so ensued a conversation about the differences between the melancholy of Dylan and wild romantic images Springsteen tended to paint, for thereโ€™s always exceptions to the rule, they both broke their own style at times, but pictures, I think youโ€™ve got this one now; Burn the Midnight Oil is a name we will be hearing a lot of over next year.

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๐€ ๐๐ข๐ ๐ก๐ญ ๐จ๐Ÿ ๐Œ๐ฎ๐ฌ๐ข๐œ ๐š๐ง๐ ๐Œ๐ž๐š๐ง๐ข๐ง๐ : ๐…๐ฎ๐ฅ๐ฅ๐ญ๐จ๐ง๐ž ๐Ž๐ซ๐œ๐ก๐ž๐ฌ๐ญ๐ซ๐š ๐š๐ญ ๐“๐ž๐ฐ๐ค๐ž๐ฌ๐›๐ฎ๐ซ๐ฒ ๐€๐›๐›๐ž๐ฒ

Review by Pip Aldridge Last week, I had the privilege of seeing the Fulltone Orchestra perform at the beautiful Tewkesbury Abbey beneath the Peace Dovesโ€ฆ

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Salisburyโ€™s Rosie Jay Releases Debut EP

Salisbury acoustic singer-songwriter Rosie Jay released her debut EP today, taking its title from her first single from June this year, I Donโ€™t Give a Damn. Thing being, I do, I give much more than a damn about Rosieโ€™s musical outpourings, because this doesn’t sound like a debut EP from a nervous teenager warbling immature ruminations. This sounds like an accomplished artist who’s been with an agent, producer and mainstream record label for eons, and established a name for themselves by acquiring the skill to balance a hook and identifiable narrative, and compose them into a beautifully stylised soundโ€ฆ.

Rosieโ€™s been working with producer Joylon Dixon on these four tunes, and it shows. Likely a perfect match, for this is faultlessly fresh, like Kirsty MacColl in her prime; a comparison Iโ€™ve used before for Rosie, and though a high accolade, itโ€™s fully deserved. For there is nothing to dislike here, the mood is breezy, the prose is thoughtful, both reaching out to her generation, while maintaining the classic template for acoustic folk rock for all to appreciate.

Beginning with her heartfelt breakup song, I Donโ€™t Give a Damn, the opening has this easy to sing along to chorus, but defines the potent melancholic and ironic thought pattern of the victim of a relationship breakdown in its verses. Akin to Sinead O’Connorโ€™s Nothing Compares 2U, and just as expressly delivered.

For Rosieโ€™s voice is magnetism, flowing gracefully and earnestly, but the whole composition suits this, perhaps with no better example than the second tune, also the second single released, Sing Another Love Song. As it sounds this is a flowing, more positive angle yet while thereโ€™s still a clever hook, in so much as McCartneyโ€™s ironic Silly Love Songs conveys the opposite effect.

If I preferred this song from the debut at the time, the next two, so far unreleased tracks, proves Rosie though beginning with a firm base, her songs will improve each time. Mind Fuckery is her magnum opus, but only to date. Isolation and affliction brought about by addiction is spelt out in the imperfections Rosie compares within herself and her generation. Again, weโ€™re sneaking through an open door into Rosieโ€™s mindscape, and it’s a poignant landscape of intense pensive and evocative prose.

The measure of a good singer-songwriter is when a listener feels like they bring a little subconscious of the artist back with them, the notion they identified and made a friend through their performance, as if they knew this person all along. I had been reviewing Rosieโ€™s singles for a few months before finally meeting her. When I did, it was exactly like this, it felt as if I had known her for ages, because even at this young age she projects herself, her thought processes and emotions so utterly exquisitely through this beautiful music. The final tune, well, despite all thatโ€™s been before, Carry Me, is the most graceful yet.

The final song is angelic, and steeped in astute metaphors Rosie faces her โ€œpersonal battle,โ€ it is, just as the other three songs, an emotive treasure wrapped in sublimity. There’s something standalone in the simplicity of person with guitar; the stripped back diploma for a musician, the final exam, and Rosie passed with flying colours. She should be setting the exam rather than taking it! What an amazing start.

Just as Iโ€™ve seen the careers of profoundly talented local artists like George Wilding, Tamsin Quin, Kirsty Clinch and Jamie R Hawkins progress from first reporting on them, I have high hopes for many of our aspiring newcomers, from Ruby Darbyshire to Meg and Harmony. Rosie Jay is high among these others, and based on the excellence of this EP I see no reason not to compare her to the likes of Elkie Brooks, The Beautiful South or Cerys Matthews. You simply have to allow yourself a quarter of an hour to take this in, released on all streaming platforms and as a CD. Follow Rosie on Insta. TikTok. YouTube. Thereโ€™s an EP launch party at the Winchester Gate in Salisbury, tonight.

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Park Farm; New Music Festival in Devizes

A new music festival is coming to Devizes this July. Organisers of the long-running Marlborough based festival MantonFest are shifting west across the downsโ€ฆ

Results of Salisbury Music Awards

All images: ยฉ๏ธ JS Terry Photography An awards ceremony to celebrate the outstanding musical talent within the city, aptly titled The 2024 Salisbury Musicโ€ฆ

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โ€œA Streetcar Named Desireโ€ at The Rondo Theatre, Larkhall, Bath, November 27th-30th.

by Ian Diddams
Images by Josie Mae-Ross and Infrogmation

Tennessee Williamsโ€™ quasi autobiographical drama โ€œA Streetcar Named Desireโ€ was first performed in 1947 as the world emerged from years of global conflict. That war had changed things for ever in many ways โ€ฆ  while in others, many things remained the same. Williamsโ€™ own familyโ€™s misfortunes and situations are threaded throughout the play, but while those may have been in reality based in the 30s and 40s the issues he raises โ€“ of misogyny, bigotry, domestic abuse, violence, homophobia, and social snobbery โ€“ are as obvious today as they were almost eighty years ago.

As titles go though, it may well have been simply named โ€œThe Fall and Fallโ€ฆ.  And Fall of Blanche DuBoisโ€

The eponymous streetcar ran on the line of that name in New Orleans until around the time the play was first performed. Its simple plot is that of Blanche DuBois and her fall from status, grace and finally sanity. Surrounding her is her sister Stella, who abandoned their cocooned life years before, Stella’s husband Stanley, a course, uncultured โ€œPolak,โ€ and their abusive relationship is mirrored by their neighbours Steve and Eunice.

A glimmer of light comes Blancheโ€™s way in the guise of Mitch, seemingly gentler and more appreciative โ€ฆ  until he turns, showing his shared heritage with the other men. Blanche descends into madness as her airs and graces so vilified by Stanley slip away to expose her own seedy recent past, and her own bigotries, while exposing the other womenfolkโ€™s tightrope walk through their marriages.

This is not a light play. It would come with plenty of trigger warnings โ€“ domestic violence, homophobia, rape, alcohol abuse, to name but a few of them. That the company present these challenging aspects convincingly without descending into casual titillation or merely seeking to shock is tribute to their acting skills, the direction of Heidi Street, and the set and technical wizardry on display.

There is another aspect to heighten the senses, and bring New Orleans’ Latin Quarter into this pleasant eastern suburb of genteel Bath, UK. The showโ€™s very own jazz band of Tom Turner, Peter Tucker and Yvonne Paulley providing the appropriate Louisiana style soundtrack to complete this exquisite holistic production.

Not content with playing clarinet as above, Yvonne also appears as the Nurse and a rose seller with a fine command of Spanish, and in-between those two demands also produced the show. Accompanying her and is another clearly ridiculously talented man, Tom Turner swapping his saxophone to play the Doctor as the stranger whose kindness Blanche, for a final time, relies on. Toby Skelton is another all-rounder who aside from stage managing all of this also appears as the Young Man, while Riza Domi is obviously far more sensible, with just the one role of Pablo, one of Stanleyโ€™s poker playing buddies.

Neighbourly Steve and Eunice are subtly portrayed by Tim Carter and Sophie Kerr, all lovey-dovey and lustful โ€“ until the pans begin to fly. Tim Hounsome sensitively plays Mitch, Blancheโ€™s almost love interest โ€“ until his urges almost overtake him and finally his own prejudices come through. Stella is sympathetically portrayed by the excellent Lauren Arena-McCann who as an American herself โ€“ albeit from New York State and not Louisiana also doubled up as unofficial voice coach! Her portrayal of an oppressed wife trapped in a caustic, abusive relationship in which she acquiesces easily to her own lustful urges, while protecting her sister from a world Blanche cannot comprehend is painfully perfect. Matt Rushton delivers Stanley cringingly well tooโ€ฆ  his physical presence, large voice and overbearing character is full of unspoken menace the entire play; of course, to Stella but also to his drinking and poker buddies who he controls through fear.

Which simply leaves Blanche DuBois. Lucy Upward is the very essence of Southern belle โ€“ sophisticated, used to the finer things in life, seeking to move in the right social circlesโ€ฆ  but exposing the cracks in that edifice as the story unfolds.  Delicious flirtatiousness, demure repose, increasing intemperance and the slide into insanity as her Walter Mitty world collapses around her. Lucy captures these airs, moods, and madness perfectly โ€“ she IS Blanche DuBois.

The set is a marvel โ€“ a perfect setting to portray a cramped two room apartment in the confines of a community theatre. Muslin roman blinds provide discreet views of more intimate โ€“ and jarring – moments while the rake of the stalls provides the upstairs flat from Stella and Stanleyโ€™s own. Costumes by Chrissie Fry as ever from her, capture the times and characters so well, from Blancheโ€™s diminished trousseau to Stanleyโ€™s slobbish attire replete with hideous bowling shirt.

There is false hope, there is pain, there is self-delusion, there is despair. But overall, at the Rondo this week, with a sold out run, there is a Streetcarโ€ฆ  named Desire.







โ€œA Monster Callsโ€ at The Mission Theatre, Bath, November 26th-30th.

by Ian Diddams
Images by Rowan Bendle and Ann Ellison

When is a Monster not a Monster? When is a good person not good? When is a bad person not bad? When is wisdom not positive? When is being invisible a terrible thing? What is the truth?

Bristol Old Vic took Patrick Nessโ€™ novel โ€œA Monster Callsโ€, based on an idea of Siobhan Dowd, and with the help of Adam Peck created this quasi-fantasy tale of an adolescent coming to terms with teenage angst, awakenings and the complex realities of the adult world. Whilst not harnessing Sondheim (โ€œInto The Woodsโ€), Wilde (โ€œThe Picture of Dorian Grayโ€) and Shakespeare (Macbethโ€™s witches) nonetheless tiny elements share some areas of those threeโ€ฆย  but more of that laterโ€ฆ

โ€œNext Stage Theatre Companyโ€ perform this powerful story of growing up this week at The Mission Theatre, Bath, in the round. A cast of eleven mixed youth and adults form the principal and secondary characters and general ensemble Greek chorus style seamlessly. Directed by Alexa Garner she has carefully crafted this beautiful tale into the powerful vehicle that intensifies its emotions as the play progresses. It is a simplistic play at face value โ€“ young teen faces bullying, adult repression, nightmares, and the worst scenario imaginable at such a youthful age and eventually learns the solution to dealing with life. In this regard the youth orientated novel by Ness is quite clear โ€“ but its more than just teenage angst. This is a play of onion skins, where if desired peeling away each layer reveals more and more philosophical and at times disturbing facts โ€“ possibly about oneself.

The primary character is Conor Oโ€™Malley wonderfully portrayed by Fin Hancorn. Its an emotional role and Fin clearly digs deep into himself to reflect all the emotions demanded of his character โ€“ he was clearly emotionally drained at the final curtain last night, full kudos for a young actor. He is more than ably contrasted by the Monster, superbly portrayed by Nicky Wilkins as the overbearing and at times demonic, Freddy Kruger like, Yew Tree โ€ฆย  that despite the name and the presence reveals his true purpose at the playโ€™s end.

Conorโ€™s main protagonists are played by Jonathan Taft as the arch bully Harry, and his two henchpersons Sully (Poppy Birch-Langley) and the fully convincing as the unconvinced bully Anton (George Chivers). Treading that wary line between teachers that โ€œdonโ€™t get itโ€ while simultaneously caring for their charges are Bob Constantine as Mr. Marl, and particularly Perrine Maillot as Miss Godfrey. Adding insult to injury are two of Connorโ€™s family members, estranged Dad (Mayur Batt) who has lost all realistic connection to his son whilst trying to clumsily help him โ€“ and failing, and Grandma (Kay Franksen) who redeems herself at the end after being impervious to teenage needs or Conorโ€™s own wants. Members of the cast also appear throughout as that Greek chorus style ensemble.

Not everyone is against Conor though โ€“ Lily is Conorโ€™s best friend (Millie Sharma) though Conor drives her away to a position of frustrated friend looking on from afar. That just leaves Conorโ€™s mum, beautifully portrayed by Hayley Fitton-Cook as her health deteriorates, the one character throughout that maintains a caring, loving, and symbiotic relationship with Conor. The stage chemistry between these two is palpable and reaches its peak in the beautifully surreal healing scene that is played out in their minds but enacted with no spoken word, other than a song, and dance and mime and the use of Makaton to communicate through their void. The Monster plays his part also in the scene as the barrier between them whilst being the source of the hope of healing.

Overall the play works through multiple layers โ€ฆย  themes reoccur though not always obviously. The Monster tells a tale of an apothecary โ€“ a practicer of old medicine of plants and herbs โ€“ while then being the last chance cure from his bark. The overarching meme however is how good and bad can be mixed โ€“ a bad pious parson, a good greedy apothecary, the misery of invisibility and the pain of being visible.ย  These are all flipsides to perceptions; the complexities of adulthood that Conor is beginning to enter and where self-delusion is the greatest barrier of all.

Which just leaves the creatives to praise. The set (Alexa Garner, Liz Wilson, Brian Fisher) is a simple one with excellent use of various props in multiple uses – a hatstand becomes a grandfather clock becomes a hospital I.V. pole, stools also represent industrial mechanisation and so on. The piรจce de rรฉsistance is undoubtedly the yew tree plinth on which the monster spends most of the show, and height differentials are subtly crafted where the Mission’s layout provides. Costume is simple and contemporary – clever use of school ties to juxtapose the earthy woodland nature of the yew tree, a simple hospital gown and the ethereal Monster garb. Lighting and sound (Kris Nuttall, Rowan Bendle) were subtle but oh so effective – the soundtrack was sublime. Alexa, director, was full of praise for her hard working stage manager – the ironic sign of a great stage manager being that you never know they are there!) Liz Wilson. Choreography totally spot on (Hayley Fitton-Cook and Dynamic Stage Action)

So what of Sondheim, Wilde, and Shakespeare? Shades of โ€œNo-one is aloneโ€ the worst thing of not being talked about is not being talked aboutโ€ฆ and is the Monster leading โ€“ or controlling Conor? These themes all whirl around this play constantlyโ€ฆย  until finally all is made clear.

โ€œIf you speak the truth โ€“ youโ€™ll be able to face anything.โ€


โ€œA Monster Callsโ€ is performed by โ€œNext Stage Theatre Companyโ€ at The Mission Theatre, Bath nightly at 7.30pm from Tuesday 26th November until Saturday 30th November 2024.

Tickets from https://www.missiontheatre.co.uk/tickets?category=A%20Monster%20Calls

Hansel & Gretel: Panto at the Wharf!

Images: Chris Watkins Media

It was lovely to spend Sunday afternoon at Devizesโ€™ Wharf Theatre, to see how this yearโ€™s pantomime Hansel & Gretel, is coming along. If my preview is behind me now, or if โ€œoh, no, it isnโ€™t,โ€ Iโ€™m happy to confirm ticket holders are in for a real treat, and those without a ticket I urge you to be as quick as a quick thing being quickโ€ฆ..

Tickets for panto at the Wharf sell out fast every year, rightfully. I believe thereโ€™s only a handful left. It may beg the question why Iโ€™m here to preview it at all, but with our Ian hot on the scene of anything theatrical these days, Iโ€™ve missed being at our communal little theatre. While I may not be so knowledgeable on Shakespeare’s plays, I know what I like, and Iโ€™m smitten for a great panto.

First time panto co-director Karen Ellis, who works with Jessica Bone, told me thereโ€™s a slightly different approach this year. I couldnโ€™t tell, Jack & The Beanstalk was wonderful last year, Hansel & Gretel is going to be as amazing as a gingerbread house decorated with sweeties!

A few sweets need tweaking, Iโ€™m at an early rehearsal, neighbouring seats are occupied with ladders and paint pots. Opening night is Friday 29th November, and with extra dates added the show runs until Saturday 7th December, with matinees on the Saturdays. With professionalism abound from whatโ€™s essentially an amateur production, from my sneaky peek alone, Iโ€™ve no doubt, this show is going to absolutely sparkle and thrill young and old equally.ย 

It was interesting, though, to see the inner workings of a panto developing, the many elements needing synchronisation I wouldnโ€™t have contemplated before now, and the attention to detail to something which might seem somewhat improvised to an outsider. It might be a couple of hours of quality family entertainment to you, but from script, expertly crafted by The Wharf Writersโ€™ Group, to this stage where only a few Iโ€™s need dotting and Tโ€™s crossing, has taken a year of hard work from a thoroughly dedicated group of very talented people.

And the hard work explodes like a supernova. As any panto should, the narrative is slight and loosely based on the Brothers Grimm fairy-tale. The show concentrates on slapstick, corny gags, drag, parodies of pop songs, slight tragedy, and a huge dollop of funny banter and audience participation, with a sprinkling of storyline. Brush up on your children’s TV show themes, anything more might be deemed a spoiler, but I can assure you, youโ€™re going to love it; all these elements are in grand abundance, and it thoroughly entertained me.

Starter for ten, neither Hansel, parts shared by two great young actors, Rory Lee and Tamsin Antignani, nor Gretel, similarly played by Emily Edwards and Gigi Underwood, are the protagonists here, rather the main parts depict an investigating police officer, Buttons, and his love interest, comically named Carrie Okie. The latter is played superbly by Georgina Claridge, also responsible for choreography, and the former, Officer Buttons is sublimely brought to life by Darcey Oswin; both masterful and confidently versatile in acting and singing, they work together like the perfect double-act.

Adam Sturgesโ€™ thespianism flare, with a natural ability for improv makes for the quintessential dame; he remained in character and high heels when I chatted to him outside! Is this the first pantomime dame to have a son, I wondered? Shaken, but not stirred and played by Lucas Dowling.

Likewise, Helen Pritchard makes for an excellent witch, and there’s supposed to be a compliment in there! Lesley Scholes is hilarious as a discluded fairy godmother, and the randomly placed comical duo is supplied brilliantly by Oli Beech and Liz Sharman.

Other singing and dancing characters are cast aptly, with Archer Leigh, Jo Benyon-Tucker, Cathy Chappell, Corrin Bishop, Poppy Lamb-Hughes, Emily Webb and Ben Bryan. It wouldnโ€™t be Christmas without a panto, and even a Grinch like me, after watching just a rehearsal for this early in November, could sense sleigh bells jingling and ring-tingle tingling all the way home!

I cannot guarantee your Brussel sprouts will be perfectly timed to coincide with the turkey, but I can assure you without doubt, Hansel & Gretel at The Wharf Theatre will warm your hearts and send you home smiling from elf ear to elf ear!

But hurry and be lucky to pick up the few remaining tickets HERE.

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โ€œThe Real Inspector Houndโ€, at the Rondo Theatre, Larkhall, Bath, November 8th 2024.


by Ian Diddams
images by Playing Up Theatre Company

When is a mousetrap not a mousetrap? When itโ€™s written by Tom Stoppardโ€ฆ
If you have seen โ€œThe Mousetrapโ€ you may find elements of โ€œThe Real Inspector Houndโ€ quite familiar. Or alternatively, if once having seen โ€œThe Real inspector Houndโ€ you then progress to seeing โ€œThe Mousetrapโ€ you may find elements of that show quite familiarโ€ฆ

โ€œThe Mousetrapโ€ of course being a play by Agatha Christie that is the London West Endโ€™s longest running play, performed ever since 1952 with only a lockdown enforced break in all that time. Famously, audiences are asked not to reveal the solution.ย  Tom Stoppard, allegedly, found this requirement somewhat tedious and so set out to write his own, similar, play.ย  You would ideally want to see both however to fully understand what he created.

โ€œThe Real Inspector Houndโ€ is also famously known for being a play-within-a-play; that is, a play in a theatre where the story is about a play. Stoppard though arguably takes this one step further especially as the surreal activities of the second half of the play unfold, as it becomes a play within a play within a playโ€ฆย  the complexities of what that entails are best learned by seeing Stoppardโ€™s excellently bizarre play!

The Playing Up Theatre Company present this show this week at the Rondo, Theatre, Larkhall, on the eastern extremities of Bath. In it they take Stoppardโ€™s already surreal comedy and add even more layers to itโ€ฆย  not only is their performance of Stoppardโ€™s urine extraction of Agatha Christie, but they have added hilarious homages to โ€œThe Play That Goes Wrong,โ€ โ€œAcorn Antiquesโ€ and even โ€œMonty Python,โ€ especially in the first half – the second half is bonkers enough to not need any additional layers, but the surrealism is excellently portrayed with good pace and no blinking of an eyebrow โ€“ audiences need to stay awake and in tune and to have listened attentively to the opening fifteen minutes to get all the nuances going on!

Stoppard used to be a theatre critic himself, and uses this knowledge as a vehicle to extract the urine to that demographic. The two critics, Moon and Birdboot, played by Andrew Chapman and Simon Shorrock respectively, certainly portray two characters full of self-importance and one upmanship, though from opposite ends of the ethical spectrum and the two actors capture this interaction excellently. James Coy adeptly and gruffly spins his way around the stage in a wheelchair as the physically challenged brother-in-law Major Magnus Muldoon, overly protective of his sister-in-law and threatening dark retribution to any man displaying intentions towards her. But is he what he seems to be ?

The star of the show โ€“ if one may be permitted to pick any one actor out of a superb line out anyway โ€“ for me though was Anne Hipperson as Mrs. Drudge the housekeeper. Her self-confessed homage to Mrs Overall from โ€œAcorn Antiquesโ€ is perfect โ€“ some exquisite comedic timing. The only thing missing from the portrayal was Stoppard failing, sadly, to provide her with a line of โ€œTwo sugarsโ€ during the painfully brilliant coffee scene.

Simon Gascoyne, smooth, suave, and sophisticated wooer of women was played by Jordan Phillpots, oozing self-confidence and smarm from every pore, while Felicity Cunningham, played by Leah Brine, the breathless, suspicious, doubly wooed young lady was suitably, deliciously aghast at the abhorrent menfolk in her life.

Then there was the almost obligatory femme fatale for such country house whodunnits โ€“ Sophie Brooks as Lady Cynthia Muldoon. Outwardly a devoted wife to her missing husband, but privately a hot bed of passion for passing fancies, Sophie mixed Mโ€™Ladyโ€™s brooding, sultry character in the farcical first act, and surreal second half to perfection, another actor with perfect comedic timing.


Which leaves just Inspector Hound himself โ€“ as ever perfectly played by the ever talented Richard Chivers. Or then again โ€“ is he the โ€œReal Inspector Houndโ€?


That leaves just one more character on stage โ€ฆ mentioned several times, but hidden, then revealed โ€“ twice. No names, no pack drill, but the character never puts a foot out of place, and remains faultlessly in character and on stage for the entire show.

The set, by cast and crew, is a simple one as befits a typical country house murder mystery, with the use of the Rondoโ€™s rear โ€œcubby holeโ€ option as the theatre seats used by Moon and Birdboot. Costumes fitted the period setting of 1930s upper class types, and technical design, operation and support was handled with aplomb by Darian Nelson and Emily Smith. This just leaves kudos for wonderful direction by Darian Nelson, abetted by superb stage management โ€“ also stepping into the fold of tech team for technical reasons โ€“ by Diluki Oโ€™Beirne.

I canโ€™t praise this performance enough. From the pure delivery of Stoppardโ€™s farcical surrealism, to the directorial tweaks and homages so well delivered by the cast, to use of Bluetooth technology to really sell on stage audio, everything gelled so well.

So all that remains now is to advise you all โ€“ go and see this play wherever you can and see if you can spot who isโ€ฆย  โ€œThe Real Inspector Hound.โ€





The Soul Sessions from Bristolโ€™s Kaya Street

In 1985 Tenor Saw toasted the lyric, โ€œanother sound is dying,โ€ in Ring the Alarm. It implied his sound was the contemporary champion, yet while it’s true reggae is competitively progressive, this particular tune’s dubplate derived from the Stalag riddim created by Ansel Collins twelve years earlier, as did Sister Nancy’s Bam Bam and numerous others. I appreciate the ethos of dubplates, for a musician to lay down a track and various singers to interpret it, but favour, if you want a true contemporary champion sound, itโ€™s not to regurgitate existing riddims, but to use past influences to create original composition; the more the merrier! I may have opened a Pandora’s box upon receiving The Soul Sessions EP from Bristol’s Kaya Street, but it’s certainly a refreshing and interesting original soundโ€ฆ..

In a promotional shot advertising their latest single Wild Child, getting spun on Daniel Pascoe’s BBC Introducing show, Kaya Street’s main man, Kaya, is shown wearing a Trojan Records logo on his T-shirt, it connotes awareness of their roots. I beg to differ from their accompanying quote, โ€œlike nothing we’ve heard before,โ€ while perhaps not recently, the fusions Kaya Street experimented with here, reggae, soul, and afrobeat, have indeed been tried before, in abundance.

I could cite bands from Misty in Roots to the Clash, and even Bristol’s own Massive Attack. I could point to the logo on the shirt and suggest many discs sought for distribution by Trojan in the sixties experimented in such a manner; take Lord Brynner’s 1966 single Congo War as one of many examples, or even predate this with the notion mento is rooted from African rhythms. Yet, it’s not the ingredients in Kaya Streetโ€™s melting pot which makes it prominently interesting and beguiling, rather the way they stir it, the method in the composition and production. Either that, or I’m an ageing trainspotter beyond the years of all at BBC Introducing!!

The single Wild Child is an enchanting one-drop steppers march, steeped in conscious vocals akin to Marleyโ€™s Get Up Stand Up, denouncing the violent crime epidemic in the UK.

It’s bravely brassy too. In an electric modern world taken for granted, it will wake you up to the roots of reggae, when brass sections ruled the day, something which trends throughout the EP. Iโ€™m more than happy for the EP to flow throughout like this, but, imagine, a pleasant surprise when the second tune, Alfie proves Kaya Street are no one trick pony.

This is positively alive in an uplifting, paced soukous-inspired sound, while the last song Sway sounds more south than east African; funky township jive, reminding me somewhat of Thomas Mapfumo, with such a saxophone solo to rival Hugh Masekelaโ€™s trumpet, least as near as dammit! The penultimate song Be Mine is more commercially western, the offbeat is slight, the theme is romance, the overall vibe is soul, with its silky backing vocals, and again with this consistent concentration of saxophone.

But the best example to highlight my opening point is Low. Low certainly wasnโ€™t my favourite on the EP, to begin with. It starts very lounge jazz, again with the prominent sax and silky vocals, but then subtly and unexpectedly twists into a dubby rockers riddim, so smoothly I had to rewind just to identify when and how this occurred. This alone caused my first impression to alter from, โ€œyeah, this is good,โ€ to โ€œactually, this is a stroke of genius,โ€ and for me to take it back to the beginning and reassess it.

Kaya Streetโ€™s sound, like anything progressive and experimental, is a grower, it creeps up on you. Thereโ€™s narratives to each song Iโ€™ve yet to analyse fully, but the more you listen, the more you detect an element from this vast melting pot of cherry-picked influences, and comprehend the story behind each, and I love it for this!

Being I was digging into the archives to find examples of similar past fusions, a subject I could chew your ears off about, if Brynner’s Congo War is a specimen to skaโ€™s African roots prior to the commercial blossoming of Rasta, as opposed to the more commonly cited jump blues influence, derived from US troops leaving radio masts in Jamaica after the second world war, try The Paragonsโ€™ lesser-known If I Were You for soul train size. Itโ€™s so funky it could be in the Stax catalogue, and is something Be Mine reminded me of; thereโ€™s so much going on here.

Yet as many examples of where and how the melting pot has been stirred, none are apogees; it takes Jamaican born Bronx DJ Kool Herc to reach that climax, when he maintained the procedures of King Tubby and applied it to funk and soul to appease the multiculturalism of New York, and created hip hop. Bristol in the nineties was a kingpin to pioneering a UK hip hop formula, which returned influences full circle and incorporated reggae again. Kaya Street continues this Bristol epoch, reviving it freshly. The Soul Sessions is a revisit, recorded in three sessions in 2012 at Exeterโ€™s Valvetastic Studios, with prolific award-winning producer and musician Jolyon Holroyd.

If I am to find some niggly, itโ€™s a lack of intro; the songs tend to jerk right in, but I guess itโ€™s because I have the single edits here, and Kaya Streetโ€™s impressive lineup is plentiful to convince me they know the formula to extend and polish. It consists of Revelation Roots drummer Dan Salter, bassist Mark Lee from Hot Dub and Kolo, and that gorgeous sax is provided by Ray Beavis of The Clash, Suzy Quatro, and Katrina and the Waves. Kaya himself has previously worked with dub producers The Vibronics and Dubmatix. Herein is an insight to how the influences meld so professionally, so absolutely sublime.

And sublime is a word Iโ€™ll happily use to sum this up, save me waffling further! The initial project was a limited run of CDs for gigs, now for the first time, they are being remastered and released online. Wild Child was released 1st of November, the rest, I believe, will follow, and you need to be there to hear them when they do; Don Letts is raving about this, so hereโ€™s the socials to follow.

LinkTree . Facebook . Insta .

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RowdeFest 2025!

Okay, I canโ€™t keep the secret any longer or Iโ€™ll pop! While all the hard work is being organised by a lovely committee, because theyโ€ฆ

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โ€œThe Little Mermaidโ€ at St. Augustineโ€™s, Trowbridge, October 30thโ€“November 3rd, 2024.

By Mick Brian
photos by Chris Watkins Media

Disney aficionados will need no introduction to โ€œThe Little Mermaid,โ€ Disneyโ€™s 1989 film about mermaids falling in love with humans based very loosely on Hand Christian Andersonโ€™s tale. By 2007 Disney had crated a stage musical version which officially opened on Broadway in 2008, with a later modification in 2012. But what Broadway can do, Trowbridge can do too, and this week Trowbridge Musical Theatre (a.k.a. TMT ) bring โ€œThe Little Mermaidโ€ all the way from New York City and an undersea kingdom to St. Augustineโ€™s Catholic College for our delectation.

This is a challenging production to pull off, with a huge cast, and multiple characters and costume changes, massive choreography numbers and immensely technical requirements, but TMT manage it sublimely in a packed and fast paced show. With a cast so vast its not feasible to list every single person sadly but it is fair to say that everybody involved brought something special to the performance. Added to which a brave decision to play it with American accents as per Broadway worked really well โ€“ kudos to all for not grating, and being thoroughly believable as sons and daughters of Uncle Sam.

Lets begin with the orchestra โ€“ with ten musicians and Kate Courage M.D. you can already appreciate the scale of this production. From the opening marvellous overture to the last note the orchestra were simply great.

The technical team brought the stage craft to life aided and abetted by some wonderful directorial touches by director Matthew Heatonโ€ฆ the piรจce de resistance being the beautifully simple yet effective use of wave sheets to represent the sea, operated excellently by the younger members of the cast and especially effective in the ship wreck scene โ€“ top waving by  Emmi-Mae Cao, Elsie Cunningham, Iris Cunningham and Sam Hodgman. More kudos to the tech team and set designers with excellent projected backdrops and a few simple but effective set pieces.

Of the principals all provided great characterisation. Alex Ball as Flounder was a standout performance, Noah Heard as Eric executed his role as a prince falling in love at first sight to perfection with a voice that was creamy, dreamy and effortless with great diction, voice agility and ability. Tritonโ€™s daughters (all seven of them) proved wonderfully catty in their roles, and collectively strong with a great sound.

The evergreen Tim Hobbs was as brilliantly crabby as he ever is as Sebastian with some wonderful comedic touches, while Sarah Davies divaโ€™d her way fantastically through the show as the wickedly creepy Ursula, with her wonderfully strong voice as ever.

She was superbly accompanied by the dynamic duo of Frankie Walker and Daisy Woodruffe as Flotsam and jetsam, Ursulaโ€™s henchmen eels who worked really well together. Ariel was the archetypal Disney princess portrayed to a tee by Katy Pattinson โ€“ gorgeous and tiny, with such a pretty voice and moved about the stage nicely.ย  Her chemistry with Eric was particularly good, and as a pair the complemented each other well. Her Act two performance in particular as a mute was really well executed with some strong physical acting, communicating superbly with facial expressions. Her scene of learning to walk was choreographed and performed extremely well.

Which brings us to the ensemble. Oh. My. Word. Ensembles make or break a show and here was a show that was made. Extremely strong in everything they did, they deserve a full bow of their own for the multiple costume and character changes required, as they sang, danced, and acted their way through being gulls, maids, sailors, chefs, princesses and the already praised โ€œWaveโ€ team. A specific mention here to Paul West as Scuttle the head gull with a strong comedic lead. But all members of this vast ensemble were worthy of their places I hasten to say!

Choreography by Anna Mazan was a huge feature of the show, and the time and effort put in by her and her protรฉgรฉs was evident. โ€œUnder The Seaโ€ was a triumph – fantastic, energetically colourful, a massive carnival with bubble machines, jellyfish parasols and so much more in a cavalcade of splendour. Youโ€™d need to watch it many times over to catch everything that was happening on stage.

Costumes were simply fantastic. Just wonderful. A little fish told me that they werenโ€™t without some teething problems on their arrival, but the wardrobe team did the cast proud. Chapeau!!   (If you will pardon the pun).

Itโ€™s a huge show. And its running in Trowbridge, at St. Augustineโ€™s Catholic College until Sunday 3rd November, tickets from https://trowbridgemusicaltheatre.co.uk/tickets/





The Mist; New Single from Meg

Chippenhamโ€™s young folk singer-songwriter Meg, or M3G if you want to get numeric, will release her 6th single The Mist on Friday 18th October, and itโ€™s got me thinking about the film Rain Manโ€ฆ.

Showing my age, I saw it at the flicks in 88! Tom Cruise was everywhere in the late eighties, and this film began like any other. Cruise, an egomaniac businessman, but in his reassociation with his lost brother, played by Dustin Hoffman, surprisingly bucked the trend of Cruiseโ€™s Hollywood template. For the masses it was an awakening, raising awareness of and offering a fascinating insight into autism.

In an interview for Devizine conducted by my daughter, this celebrated upcoming singer-songwriter was comfortable discussing her autism. โ€œI honestly donโ€™t think I would be doing this if I wasnโ€™t autistic, in a weird way,โ€ Meg explained, โ€œAll of my songs are about me in some respect and itโ€™s a part of me I canโ€™t escape.โ€ The Mist echoes this sentiment, precisely and wholeheartedly.

At the time of the 2023 interview, Meg figured the single they were discussing, Together was the only song she had written about autism, but connoting her later tunes, I believe others are, perhaps none more than The Mist. It is the most evocative and poignant on the subject, and being, as Meg said herself, โ€œitโ€™s part of who I am and I really value that part,โ€ Iโ€™ll boldly declare this is the best of her singles to date.

Weโ€™ve come so far since Rain Man in understanding, identifying, and accepting autism spectrum disorder. The most important factor, I believe, is that everyone is an individual. Ergo, while at the time we may have considered Rain Man this insight into the autistic mind, it was, actually, only ever an insight into the character of Rain Man.

This song is on a similar level, as Meg opens up and expresses her deepest thoughts on sociability and correlation versus serenity and solitary, angelically. The line in the song, โ€œmy piece of mind got up and left my side, said Iโ€™d be better off without them,โ€ is a haunting example. It is also a fascinating insight, to Megโ€™s sentience, yet in essence, it too is a beautifully crafted song with powerful ambience.

In thoughtful prose it drifts, still as the night air, and candidly as chilly, as if Meg invites you into the depths of her consciousness. It is a tested formula, astute honestly in songwriting, to leave a listener believing theyโ€™ve taken a piece of the singerโ€™s life with them, and in turn, identified with it. Yet Meg does this so utterly uniquely it could only be her thoughts done her way, thatโ€™s the only hook needed; weโ€™ve all put a square peg in a round hole. The solitariness of her delivery matches the theme and it combines into something wholesomely composed, yet sublimely forsaken.

Even the production matches the solitary of the sound, Meg provides her own backing vocals, to create layers of angelic voice, choral, like her thoughts reverberating, questioning or venerating her meaning. She will also produce and master her own work, so it is solely her outpouring, untainted by anotherโ€™s input. And that is what makes it work so wonderfully. That is why Meg can hold a crowd willing to intensively listen, spellbound; Iโ€™ve witnessed this first hand, first time at the Pump, last time at the Tuppeny, it is something worth savouring timeover. If The Mist is a metaphor for the hindrance which obscures Meg from relating to others, it is also our musical Rain Man, a fascinating insight to how oneโ€™s personal autism conducts their innermost thoughts. And that, my friend, is how you write a masterpiece!

The Mist is out Friday 18th, check in then, on M3G’s Spotify page to hear it!

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Rachel Sinnetta & Rosie Jay at the Crown, Bishops Cannings

Must confess it felt somewhat odd to return to The Crown in Bishops Cannings for my weekly ration of live music. The only pub in the village has been closed a short while, since verbal pitchforks and torches from a crotchety minority who wanted the tavern to be little more than a museum artefact drove the previous landlords outโ€ฆ..

Prior it was a bustling community hub run immaculately with gusto and enthusiasm, hosting a variety of events and raising funds for charities. Seemed crabby witches and even a lord of a manor were prepared to gang-up, lie to police, and misquote Devizine when we failed to appeal to their better nature. It backfired, they didn’t own one, but let’s not dwell.

New landlords are in, pleasant and keen to maintain the pub’s reputation amidst the prying Karens. Sarah, the new landlady praised her new chefs, and the pub hosts an open mic every first Thursday of the month, Tuesday evening quizzes, and intends to begin a men’s mental health group and possibly a football team.

Tonight, however, will be the new owners first live music night, and they’ve wisely hoisted in promoters Wiltshire Music Events to organise it. Though without much advertising unfortunately the crowd was slight. Never the simple accomplishment it may seem when established venues have the monopoly through a regularity of gigs, to sporadically host will require endless bashing about it on social media. It is, however, easier with the increased 49 bus service, that a night bus will drop into villages enroute, of which you should take note.

I’m in attendance not only to support and encourage the importance of entertainment in villages, save the thought of losing your local watering hole. Rather it is because Wiltshire Music Events is hosting two new acts on their roster, one who’ve yet to explore outside of their Salisbury circuit. A wise choice being the neighbouring church is a mini replica of the cathedral to make the bishop feel at home in the Cannings, or at least so the myth goes!

Firstly, in support, young singer-songwriter Rosie Jay, one I’ve been dying to meet and see live since fondly reviewing her first two singles. Rosie didn’t disappoint despite the pedestal I’ve put her on. Her self-penned songs are rippled with the poignancy of the classic template acoustic wordsmiths who made it big will follow; concentration on the hook, something even more essential with the attention span of the Tik-Tok generation.

Her voice is rich, affectionate, and she delivers songs with passion and blossoming stage presence. An interesting choice of covers from a young artist, often, she explained to the audience, inspired by their usage in films. Okay, Elvisโ€™ Can’t Help Falling in Love is timeless romantic, and The Cranberriesโ€™ Zombie is most formulaic, but Dylan’s It Ain’t Me Babe, is a cynical rare choice to pull from her magician’s hat. Though it relates in theme to Rosie’s first song, I Don’t Give a Damn, and her general subjects. Rosie nailed them all, beautifully, with particular evocative expressions in the reclusive and heartfelt jaundiced emotions of Dylan, and likewise her own intelligent compositions.

Currently pursuing a Level 3 Diploma in Music at Wiltshire College and University Centre, Rosie told me of her work on local radio, and was enthusiastic about her forthcoming EP. Part of the growing Wiltshire Music Events family now, as Joylon Dixon has worked with her to produce it. And Joylon accompanies the next performer, the incredible Rachel Sinnetta.

Renowned for a two-year stint supporting Gerry & The Pacemakers, singing to Prince William and recording with Pete Townshend, Rachel intended to tour aย  “Wuthering Heights: The Music of Kate Bush,โ€ project which unfortunately fell through.

Music teacher Rachel  set to tour this tribute extensively throughout the UK; that’s what the blurb told me. All I know is Kate Bush is the vocal epitome of singularity, the individuality debatably overlooked in today’s pop industry, as the penchant to sound akin to Whitney Houston seems paramount.

Just like Dolly, Cher, Tina Turner, Stevie Nicks, Tom Jones, Alanis Morissette, even KT Tunstall et al, you need a seriously powerful vocal range to convincingly take on a Kate Bush cover. And Rachel did, sublimely delivering Running Up That Hill, and popular hits of all the aforementioned. Seemingly having her own deal with god, Rachel naturally reaches the notes with ease, her husky yet divine rock voice is the eloquence and faculty able to adapt to take those powerhouse ballads on with such precision and poignancy, particularly with the female giants. She even rinsed Arthea Franklinโ€™s Natural Women, and left me tingling, Chaka Khanโ€™s Ainโ€™t Nobody too simply wowed. Proud Mary in the key of Tina Turner; who would dare attempt them in an intimate gig such as this?! Rachel Sinnetta made them look childsplay.

Sassy with Tom Jonesโ€™ Kiss, joyful with Erasureโ€™s A Little Respect, covers came thick and fast, coupled with the secret legendary Jolyon Dixon without rehearsal was a match from heaven, and the whole shebang was utterly blissful; shame only us, a few regulars and their dogs were there to witness it. Such is the uphill struggle for new landlords to plant their establishment into a local music circuit, partially my reasoning for doing this blog.

So, take heed now, especially everyone in Pewsey; this wonderful formula, Rosie Jay followed by Rachel Sinnetta with Jolyon Dixon will be continued at the Royal Oak, in Pewsey, with a free gig from 8pm, next Saturday, the 19th October; they are in for a treat.

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