Tag: singer-songwriter

Seren’s New Single; Worm

There’s a cold remote ambience of burrowing doubt in the opening of Westbury’s singer-songwriter Seren’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 stentorian…..

Worm, released today, is impressive. It’s a richly layered spring-like emerge, a hedgehog poking his nose out of his winter nest. If isolation is a trap, Seren’s uplifting vocals are the escape route, and in this it’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 “see if I feel a thing.”

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 Seren’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.

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

So, I’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 M3G’s recommendation; they’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, I’ll see you on Friday 24th April; yeah you got me, it’s a gig plug, but even if it wasn’t, in writing and acoustic combo, Worm is this prodigious and breathtaking!

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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 Fold….

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 JP’s reputation spreading like wildfire, he cannot always be at The Fold; I mean, we were just chatting about him supporting Imarhan at Bristol’s The Fleece on Monday, and the many other gigs he’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, “the good folk in Devizes would love this, they deserve to see this!” 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 Trowbridge’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 “described as, ‘Beautiful and Captivating’ by a local music magazine,” which I’m suspicious was me! And “she brings a unique perspective and humour to the stage,” which sums it perfectly, if I do say so myself! Her recent singles, like “Rooks” , 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; here’s your chance. I also introduce you to Take the Stage finalist Seren, a Warminster based young folk singer-songwriter with a voice you won’t forget. 

Seren performs a mixture of original songs and covers. “My favourite covers to perform are Fast Car by Tracy Chapman, Unwritten by Natasha Bedingfield, and Black Star by Radiohead,” she tells me. “I 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, Daoirí 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.”

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 can’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.

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 “scatter-brain,” 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. 

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. Sammi’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. 

Hey look, I’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 Sammi’s mind at the time of writing it, but releasing it might’ve been that face your fear moment of diving off the top board into the pool. And now it’s out there, perhaps more art for art’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

Rooks; New Single From M3G

Chippenham folk singer-songwriter, M3G (because she likes a backward “E”) has a new single out tomorrow, Friday 19th December. Put your jingly bell cheesy tunes on hold for a moment, because this is a beautiful, epic journey….

M3G’s seventh release, Rooks, poignantly pulls on the heartstrings when presented by the rise and fall of a romance, rooks often being a slang for cheating someone. It runs into six minutes, and reflecting the heartbreak of the subject, the song rises and falls accordingly. It creates a spellbinding ambience of both hope and worry equally, and is of magical vocal and acoustic guitar composition, with a gentle cajon drum subtly placed.

Inspired by the likes of Florence Welch and AURORA, Meg was open about her autism in our interview from 2023, and claimed it as the backbone to her creativity. In this, what she creates is completely original, unique, and unequivocally personal. Meg doesn’t just sing, she projects her innermost thoughts and expresses them, angelically. In Rooks, you can literally feel the character’s heart breaking, causing yours to inevitably go with it.

The hyphen in the term singer-songwriter has never been so apt with another. Sure, I hear lots of brilliant expressive singers and lots of songwriters who can pen a marvel, but no one merges them so seamlessly and forgoes any fear they’re exposing too much of their innermost thoughts, dreams or desires. You only need to venture ten seconds into Rooks to observe what I mean, and if Meg constantly strives for improvement, causing me to say this is her best song yet each time, here we go again; this is awe-inspiring, her magnum opus to date.

Recorded and mixed by Phil Cooper, his genius registers on it, yet still, it’s Just M3G; layering her backing chants over her main vocals like choral had a singular tense, and who even designed the cover. She says working with Phil is “a massive step above my other releases. I am so proud of it.” It is on a next level, I’m uncertain what she could do to top it, but assured she will, and I’m certain Rooks will appease her fans and make her find new ones.

Rooks streams tomorrow, 19th December 2025.

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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 ahead…

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Jol Rose’s Ragged Stories

There’s albums I’ll go in blind and either be pleasantly surprised, or not. Then there’s ones which I know I’m going to love before the first notes ring out. Quite familiar with Swindon’s beloved Dylanesque singer-songwriter Jol Rose, Ragged Stories is another notch in his sublime discography you simply have to listen to on repeat….

Similarly there’s many attempting Americana, a few leave themselves open for criticisms of cliché or authenticity while others refine it with a certain level of finesse, then there’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 year’s album, Peace, Love & Americana. But this is a stripped back acoustic version, and that’s the thread through a variety of themes and temperaments; this Jol, raw.

There’s other stories of travels; two songs venturing over to the USA it wouldn’t be Americana without, and some Road Boogie to boot. But it’s not without ditties of homebased subjects too. If Springsteen writes romantically of New Jersey gangland warfare, why can’t Jol humbly justify Swindon’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, “As 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,” which confirmed we’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. He’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.

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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…

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Vince Bell in the 21st Century!

Unlike Buck Rogers, who made it to the 25th century six hundred years early, Devizes’ most modest acoustic virtuoso arrives at the 21st just short of twenty-six years late! We’re looking at Vince Bell‘s EP, Songs, Poetry and Motivation, as it makes off for a futuristic online adventure…..

Devizes knows “our Springsteen” Vince, loves Vince, unless they’re selling tickets for “The Bin.” “It’s three quid to get in,” Vince jests in a song popular with locals, as reasoning for not attending the town’s only nightclub, which is actually quite reasonable these days! Its references strictly imply Devizes, but the concepts could relate to another market town, that song of his. Composed of contemporary scuttlebutt and twisting it into urban legend for intoxicated natives to chant the chorus’ self-mocking punchline about never leaving, back at him, if Vince is, (and deserves to be leaving at least on a national tour,) branching worldwide, this one rightfully doesn’t appear on the EP.

When plugging his new Spotify account to me, we meandered onto the better between the ZX Spectrum and Commodore 64, after he confessed his family encouraged him to put his songs online. A self-deprecating retrospective attitude relayed in Spiderman Pajamas, which also doesn’t appear on the EP, and was likely the reasoning behind the world waiting so long for Vince to give into the virtual realm.

Vince doesn’t have stars in his eyes, he’s an unassuming musician who sees it as an eternal labour of love. Yet in true folk fashion, his guitar finesse is equal to his delivery of some genius wordplay, and that love for more universal observations are of those five tracks which made his own exceptionally high level of EP grade. Songs of local satire or retrospective are adored here, but concentrated observations are more universally acceptable.  

Though the opening title Lisa’s Kitchen has obvious personal, homely connotations. It’s a five minute sketch comparing the cliche places of solitude to the simplicity of a family kitchen, and an apology for casually acting on promises made in the freedom of this  daydreamy oasis of ménage calm.

The guitar riff rolls intensely after this, and things aren’t so calming. Haunting like embers randomly sparking from a campfire, for First Fire of Winter. This song is a summary of the contemplating sentiments evoked by a fire; of trust and conviction, weakness against strength, pain of loss and fire in a heart of longlost boys homecoming. When Vince mentions “submissive machines in a world that’s gone too far”, and “God’s own simulation,” it’s a vehemence against war, yet while the poetry is poignant enough, it’s the urge in his delivery which drives the sentient home.

With a more lighthearted and playful muse, Monkey Puzzle Tree is a metaphor for the progression of time and the difficulty in the acceptance of ageing. Whereas in Preacher, Leaders and Dealers, the contentment in delivering fear are compared and contrasted from all three classifications, and is delicately expressed with perfect pathos.

We’re Between Earth & Paradise for the finale to this outstanding EP. There’s an instrumental two-minute opening where intricate guitar-work sets a scene of seemingly encapsulating the beauty of nature. Despite the title, there’s still dark pressure in the narrative in the form of bleak news stories, but it offers an escape with a virtually heavenly premise. And in this, it sums up the EP and Vince’s impressive ability to conjure and project vivid images and lucid ideas within his music, a rare gift.

Though this is commonplace in the celebrated artist, so too is modesty and undervaluing of one’s own work, risking it falling into obscurity unless we take it upon ourselves to shout about how engrossed, entertained or enthralled we were, on their behalf. Vince has, and here I am, advising you to take heed, not because he’s a friendly guy locally gigging on my circuit, though he is, but because Vince’s music is breathtakingly brilliant and deserves a far wider accolade than that which a Wiltshire market town can provide. This EP proves it.

Oh yeah, catch him down the Southgate, Devizes, on Thursday 30th October 2025 for a session with Tamsin Quin; see what I’m on about if you don’t know already!

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 Trio residency at The Southgate. But beyond doubt my favourite young singer-songwriter right now, Ruby Darbyshire, is down my favourite watering hole, and such an occasion would be unmissable even if she did it weekly; twist my arm, why don’t you?!

This raw and self-disciplined talent when I discovered Ruby a little under two years ago was so breathtaking it caused me to state, “Ruby’s music will grow into a phenomenon, and you need to hear it blossoming.” I’m honoured to note it’s quoted on her website, one which everyone took heed of, on our local scene and beyond, and one which we can safely convert to past tense; Ruby’s music has blossomed and is now phenomenal.

Everyone was held spellbound throughout, this is now standard protocol wherever Ruby plays. Though Ruby remains modest and “showy” simply doesn’t equate for her performances, alongside her refined multi-instrumentalism, her confidence to present herself and engage with an audience has accelerated to level up with the naturally sublime soulful voice she’s blessed with. A voice which may be kingpin to her excellence, but is really only the cherry on a cake with top marks all round.

A cake which covers virtuosos Nina Simone to Freddie Mercury, and makes them her own homages, then flips to bring Rag’n’Bone Man’s magnum opus to an older audience, and slides her own compositions in so effectively it’s divinely  encapsulating. Then, there’s the additional nods to her Scottish roots; folk sing-a-longs and her distinctive introduction to the second half of her set, with bagpipes. Even if you know it’s coming, you’ll never tire of it or any of it because that’s simply the magic Ruby brings to any venue.  Ruby Darbyshire is the whole deal now.

Salisbury’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 Don’t Give a Damn. Thing being, I do, I give much more than a damn about Rosie’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 sound….

Rosie’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 I’ve used before for Rosie, and though a high accolade, it’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 Don’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’Connor’s Nothing Compares 2U, and just as expressly delivered.

For Rosie’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 there’s still a clever hook, in so much as McCartney’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, we’re sneaking through an open door into Rosie’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 Rosie’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 that’s been before, Carry Me, is the most graceful yet.

The final song is angelic, and steeped in astute metaphors Rosie faces her “personal battle,” 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 I’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. There’s an EP launch party at the Winchester Gate in Salisbury, tonight.

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George Wilding Feeding His Head

Featured Image: Helen Polarpix As if it’s not hot enough, Avebury’s finest musical export George Wilding is bounding back with another new single, Feed…

Chloe Hepburn’s Lullaby

New single from Swindon soul diva Chloe Hepburn, under the rebranding CHLÖVER out last week, is worthy of your attention in my honest opinion.…

McDonalds Coming to Devizes?!

Okay, it was the April Fools joke I broke the Internet with in 2021, but it’s not the 1st of April today….. Bishop’s Cannings…

Using Fulltone as a Proper Noun

To most, “full” and “tone” are two separate words, but around here it’s been a portmanteau and a proper noun since 2019, conveying a…

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The Mist; New Single from Meg

Chippenham’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 it’s got me thinking about the film Rain Man….

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 Cruise’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. “I honestly don’t think I would be doing this if I wasn’t autistic, in a weird way,” Meg explained, “All of my songs are about me in some respect and it’s a part of me I can’t escape.” 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, “it’s part of who I am and I really value that part,” I’ll boldly declare this is the best of her singles to date.

We’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, “my piece of mind got up and left my side, said I’d be better off without them,” is a haunting example. It is also a fascinating insight, to Meg’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 they’ve taken a piece of the singer’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, that’s the only hook needed; we’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 another’s input. And that is what makes it work so wonderfully. That is why Meg can hold a crowd willing to intensively listen, spellbound; I’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 one’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 out…..

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, Elvis’ Can’t Help Falling in Love is timeless romantic, and The Cranberries’ 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 a  “Wuthering Heights: The Music of Kate Bush,” 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 Franklin’s Natural Women, and left me tingling, Chaka Khan’s Ain’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 Jones’ Kiss, joyful with Erasure’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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Sing Another Love Song with Rosie Jay

Second impressive single from young Salisbury singer-songwriter Rosie Jay is released today. Sing Another Love Song; a sound of the summer…..

Her debut breakup track I Don’t Give a Damn, had an interesting hook, this has too, but is far more optimistic, and eternally beguiling. It is, technically, the better of the two, revealing a potential for eminence in its confident and outstanding delivery. 

If it hints of connotations the infatuation of the theme is one-sided on the part of the author, it’s open-ended for interpretation; maybe the love interest simply doesn’t share their passion for a good love song?! That’s their issue! 

For that’s what this is, breezy and cool, acoustic and pop-folky, with the perfect flowery scent of Kirsty MacColl in both theme, musically and vocally. Such is the magic of local producer Jolyon Dixon, to filter the inner superlative of an upcoming artist and nurture it to the forefront. And in such you’ll hear a similarity with Rosie to his duo Illingworth with John Smith, should you’ve caught them on our live music circuit. Then again, the whole gypsy-esque vibe, there’s hints of Irish, and I’m awarding the Corrs as another comparison; as with MacColl, these are high accolades indeed!

Here this now, it’ll brighten up your day. Yet, gorgeous as this song is, with the blossoming potential it displays, I believe it’ll be rudimentary in a short period of time, and the best of Rosie Jay is yet to come. You need to be here to hear it when it does. 

what else is occurring?!

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 than…

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Rosie Jay’s Debut Single Doesn’t Give a Damn!

With a rolling hook in the chorus, piano riff over acoustic guitar and a heartfelt narrative, here’s a promising debut single from Salisbury’s young singer-songwriter Rosie Jay out today. I’m getting Kirsty MacColl vibes here, and if you think that’s a pretty high accolade, you’ll just have to have a listen and decide for yourself!

“Who are you trying to convince” folktronica break-up song, ironic Against All Odds in theme, earnestly expressed. Rosie has the confident and steadfast vocal range, with accompanying angelic backing to make this work, and it does with cherries on. It was recorded at Jolyon Dixon’s home studio, if you know Jolyon you know I need say no more.

….but I will, because I have a tendency to waffle, but for all the right reasons, this is a beautiful song. I believe we’re on the verge of discovering another talented local musician here, and I think there’s something greater to come too; we look forward to hearing more, Rosie, this is a winner from me! 

Link Tree

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Dirt Roads, A Plastic Army, and a Ruby; Saturday Evenings in Devizes Still Rock!

A joint effort of Darren Worrow and Andy Fawthrop

Buses, huh? Last time I strolled to the dual carriageway to catch one it was four minutes early and didn’t hang around for listless fogies with an appetite for entertainment. I glumly watched it blur past from fifty yards down the lane. This time I hotfooted it, my ageing heart pushed to its limits, and the delayed bus left me standing there for fifteen minutes! Once in Devizes, although far from Broadway, options for quality music and drink still overpowers those of neighbouring market towns; something we should be proud of….  

Post vegan market and a craft fair at the Corn Exchange, as evening sets in The Pelican prepares for its beloved karaoke, a couple of hobos strum a ditty by the fountain, and the amazingly talented Adam Woodhouse arrives at The Three Crowns. Yet I must bypass such significant options, it’s over to Long Street Blues Club, because when Ruby Darbyshire is in town, there’s no compromise from me.

I give a nod to Joe Hicks, likely the best support act I’ve witnessed at Long Street to date, yet at seventeen-years old, Ruby Darbyshire, I believe may’ve topped it. Her first time at the legendary club, she practised two blues songs to play them, one by Beth Orton, another more classic, although by subject her own composition Insomnia could be perceived as blues, and her overwhelming vocals blessed the club with these and a sprinkling of popular covers.

There’s a double-whammy of congratulations to organisers of Long Street, councillor Ian Hopkins who this week became Mayor, and his now wife, Liz, for their marriage in the same week. We wish them many happy years together. But dilemma dawns for me; though keen to hear a group composed of legends Horace Panter, Steve Walwyn and Ted Duggan, by name alone it’s fair to suggest accolades as standard, whereas it’s the first time Swindon’s gypsy-folk Canute’s Plastic Army are in town. They’re down our trusty Southgate, and since hearing a handful of their most impressive singles, and our ethos of supporting local acts, I must depart the club with haste.

Much as I would love to pretend this was all part of careful planning, it wasn’t! Believing our fantastic regular reviewer and part of the furniture at Long Street, Andy Fawthrop was still on his holibobs, I endeavoured to stay as long as possible in order to give fair praise to The Dirt Road Band, when all the time he was hiding behind me! So, it gives us an opportunity to merge our words and be comprehensive about a typically great Saturday night in Devizes.

After Ruby did her thing, which never fails to leave me suspended in awe, I stayed for two songs from The Dirt Road Band. Ruby rinsed beautiful versions of Joni Mitchell’s Big Yellow Taxi, and Prince’s Nothing Compares 2U, as regulars in her set, yet again, it’s in jazz renditions such as Erroll Garner’s Misty and Nina Simone’s Feeling Good, where her sublime vocal range is let loose, is something to behold, and the very reason I’m here at the club. Crowds flock this shy prodigy during the interval with congratulations, clearly it’s not just me who thinks this. 

The Dirt Road Band came on all guns blazing, in an impressive electric blues-rock fashion. I favour my blues rootsy, though tip my hat for their aptness to the Club’s favoured mode. Here below, is Andy’s take on them; I salute plus thank him for his expert thoughts, as ever. 

A recently-formed modern (super-)group, consisting of gig stalwarts Horace Panter (The Specials) on guitar and vocals, Steve Walwyn (DR. Feelgood) on bass, and Ted Duggan (Badfinger) on drums, these guys had all been around the block a few times. They knew how to play, how to drive a set-list and how to work the audience. 

They took a couple of numbers to really get going, but once they hit their groove there was nothing stopping them. Playing a single ninety-minute set they ripped through both original material and a few great covers. It was rock, it was blues, it was boogie-woogie, and they shifted these styles around with seemingly no effort.

Keeping the audience to a chit-chat to a minimum, they frequently segued from one number to another. There were some great riffs on the new songs, and there was a definite Feelgood vibe going on at times. It was no-nonsense, professional stuff, highly enjoyable. A cheering, standing ovation was rewarded with Get Your Kicks on Route 66.  By comparison to Beaux Gris Gris’ near three-hour performance the other week, ninety minutes felt very short, but it was quality not quantity that was on offer here. Good gig, good value. Definitely a band worth checking out.

Eyes back on me, then; thanks Andy! Without cloning technology I missed this, hot footing it again, this time to the Southgate. Dirt Road Band originally asked to play here, landlady Deborah thought they’d be better suited to Long Street, and so we are blessed with the presence of Canute’s Plastic Army, I understand it’s their inaugural visit tour trusty answer to a Devizes’ O2, though the guitarist plays also with welcomed regulars S’GO.

Based upon both the Army part of their name, and the strength of a few singles I’ve heard from them, such as the incredible Wild, I was first surprised to see they were but a duo! Nevertheless, through Anish Harrison’s intense and consuming vocals and the intricate guitarwork of Neil Mercer, they build layers through loop pedals and sheer expertise, to produce the euphoric gothic folk one would expect a full band to have produced.

There were a few technical hiccups with the PA, yet through warts and all, the duo gifted us with an inspiring, beautifully accomplished and unique sound. Whimsically gliding like fairies in mist, ringing out choral from just one voice, or bittersweet, they were reciting influences in subject from folklore and mythical prehistory in breathtaking splendour. I changed my mind, they are indeed an army, armed with allegory and an elated passion to deliver it.   

It’s Anglo-Saxon, or Celtic Pagan, reverberations of times of yore, wrapped punk and pirate-like. At times I likened them to Strange Folk, at others The Horses of the Gods, but mostly it was individual expression, and that’s the icing on their cake worthy of our perusal.

And that’s a wrap with dirty roads, a plastic army, and a gemstone. Through unforgettable acoustic goodness to an exclusive gothic folk duo, via a legendary supergroup of blues, you have to award Devizes, we’re still punching above our weight when it comes to valid options for a great night of live music, and, sadly, I didn’t even get the opportunity to head over to The Three Crowns for Adam; cloning technology, see? Get to it scientists, now!

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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.…

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Poppy Rose, Ready Now….

Not being able to hold a note myself, I tip my hat to any musician in a band. Yet there’s something so much more valiant, rudimentary, and intrinsically honest about the solo singer-songwriter, the personal touch of an acoustic performer; as the title of her debut album suggests, Poppy Rose has this…..

The key to a good singer-songwriter lies in the proximity of thoughts between the artist and their audience, and how they relate. If done well, the listener feels they know a little something about the singer. I’ve never met Poppy. I came across her music via a Facebook chat. But I’ve come away after one sitting of her new album, I’m Ready Now, thinking that I know her, and that’s the goal rather than the benchmark of an amazing acoustic singer-songwriter….. 

The album opens with No In Between, elucidating Poppy doesn’t do moderation, she is an all-or-nothing girl, and we’re off, getting to know the innermost thoughts of this twenty-five-year-old creative soul from Bath. 

It’s thoughtfully played out prose, with intelligent metaphors which build throughout the ten tracks, but more importantly, it’s dreamily unique and divinely expressed. The metaphors of the intimacy in the second tune are rinsed in personal observations, the third tune, more dejected in romantic theme; Fool is her first single released from the album. If these are characters in her narrative they appear to bear her own crosses and devotions equally, either this or Poppy can write classic fiction akin to Jane Austen!

Similar to what Chippenham’s Meg is putting out in both content and delivery, it’s first-hand folk, idiosyncratic reflection, and we love what Meg is putting out, it’s impossible not too, in my honest opinion. The confusion, trickery and learning of it within the game of love never wanes with age, but there’s something coming of age in Poppy’s subjects, perhaps none more so than The Wrong One, which even states her naivety in the words. If you’re not young (like me!) you still relate, because you lived it, and survived to tell the tale, though, Poppy tells it expressively in haunting songs, and it’s something to behold.

Poppy poses in Resolution Records in Bath, looking deservedly chuffed! You can find limited edition gold glitter cassettes of “I’m Ready Now” in there!

Five tunes in and we’ve swapped guitar for piano, complimenting her heart-clenching and soulful vocals better may be debatable, either instrument works, but piano always rewards it a more europic ambience, as the songs tend to sit in the more dejected moods of Poppy. Seven songs in now, Fragile suggests this honesty, the title track following this lifts the pessimism.…slightly, but whatever the mood, Poppy sets it sublimely and evocatively.

If ‘body shaming’ is a Gen Z construct, it is so only by modern terminology. If you think mocking people for their body shape or size is a new thing you’ll be sadly mistaken. But it is something highlighted as harassment far less abstract and taboo nowadays, and dealing with such bullying inspires Poppy’s penultimate song on I’m Ready Now. I Love my Body is a poignant reflection of wellbeing, a calling to anyone suffering misgivings about themselves physically. Whilst still a solitary deliberation, this track is perhaps the standout as it contains a universal message.

What surprises me most is Spotify has this tune, I Love my Body, listed as a previous single, dated 2019. I know I’m not so good at maths, but if this places Poppy aged twenty when she wrote this, she is truly a prodigy. As I said at the beginning, I don’t know Poppy, but to express such a sentiment and deliver it so profoundly as a message to others at any young age, is nothing short of magical.

So to not leave us downhearted, Poppy’s final tune, Joy, is brimful of romantic optimism, including a geographical reference akin to Springsteen’s The River. This album is homemade lemonade, moreish, yet in recording one’s thoughts so young I believe, and hope we’re only skimming the surface of what is to come from this skilled wordsmith and performer. Have a listen, see what you think, because I’m blown away!

Find Poppy’s Music on Facebook or Instagram

LinkTree HERE

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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 spirited…

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Ashes of Memory; New Single From M3G

The fifth single coming out from Chippenham singer-songwriter M3g on Friday, Ashes of Memory, and if I’ve said in the past what separates Meg from the average singer-songwriter is her stark individuality, this one stands out as the perfect paragon….

There’s a choric aura in the undertones of this acoustic dream, evocatively expressed as ever, but perhaps more ambient and succinct than any of Meg’s previous winsome outpourings. It’s rich with poignant and lucid definition, hope in turning a metaphorical new page in her life, and the sorrowful trajectory which succeeds fades into tears, literally.

It’s one of those three-minute marvels that leaves you breathless and in a dilemma of quite what to do now it’s over. Meg played many local festivals, and has supported the likes of Gaz Brookfield and Amelia Coburn; any musician following her better pray she doesn’t finish on this one! 

Find her Spotify page below, follow, or at least return here on Friday to hear it and judge for yourself, I think it’s a beauty!

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Vinyl Realm Settles Into New Home

A median haul of vinyl can weigh in, but there’s no longer a trek down Northgate Street for record collectors and musicians alike. Vinyl Realm…

Radium on Liddington Hill

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

Peace, Love, Americana and Jol Rose

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

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

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

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

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

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

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

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

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

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

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Seren’s New Single; Worm

There’s a cold remote ambience of burrowing doubt in the opening of Westbury’s singer-songwriter Seren’s debut song, in which, as the title suggests, she uses…

The date is set for Imberbus 2026 !

We are pleased to start 2026 by announcing that this year, we are planning to run the Imberbus service on Saturday 15th August 2026 when…

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!…

Vince Bell at the Southgate Inn, February 25 2024

Ian Diddams

Regular readers of Devizine may be well accustomed to hearing the name “Vince Bell”. For those less frequent readers or those that have recently moved to this particular corner of the universe, grab a cuppa and sit back …

Vince is a Devizes based singer-songwriter of excellent – and well deserved – local repute. He hides his substantial light under a huge bushel (and it needs to be huge to hide his phenomenal talent) but rest assured, if you don’t already know, when you see a gig of his advertised then it’s a gig worth cancelling weddings, baptisms, bar mitzvahs and other sundry celebrations for, in order to get down to.

Where do you start to review a gig by Vince, when that path has already been beaten by others before?

My Oasis of Calm… Vince Bell at the Southgate Devizes – devizine.com

REVIEW – Tamsin Quin & Vince Bell @ The Southgate, Devizes – Sunday 26th June 2022 – devizine.com

A Detonation at the Southgate with Vince, Tamsin, Phil and Jamie – devizine.com

Jamie, Tamsin, Phil, Vince and Ed Too; Five Go Adventuring to The Southgate – devizine.com

REVIEW –Vince Bell – 7th July 2019 @ The White Bear, Devizes – devizine.com

The more eagle eyed and inquisitive amongst you will have noted the above rather neatly represents a review every year since 2019…  and so, I find the niche for this review…. One for 2024 and thus to keep the tradition alive.

Vince was just… well…  Vince. In the Oxford English Dictionary, under “Sublime” it merely says “See Vince Bell”. True.


Vince pens his own bitter-sweet songs about life, relationships and family with complex fingering and philosophical lyrics. It has been said of him, that he has enough lyrics in just one song for an entire album (© Fraser Tilley) and certainly Vince is not one to use half a dozen lines when several dozen will do even better. But in between his own works Vince throws in a cover or two – but these are no ordinary covers…  these are Vince Bell covers, covers like you never heard before. Vince may take another’s song, but he makes it all his own. At times, it’s difficult to tell if the cover is a cover particularly if it’s from one of his personal favourite musicians which may not be Radio 2 material and globally familiar.

Back to Vince’s music. Some older songs of his, some newer. Including one of his latest pieces, a work in progress he is anxious to point out, to celebrate the recent publication by friend, Sorrel Pitts, of her new book “Broken Shadows.”  Naturally, as ever, it is as …  well…  sublime as everything else Vince writes and plays.

The late afternoon soon swept past as it is wont to do and as the set end approached Vince asked the crowd which of his two particularly light-hearted songs we would like to hear – “Spiderman Pyjamas” or “Devizes Song.”  The answer was obvious of course – there could only be one answer….  BOTH! And Vince duly provided. Like everything Vince writes of course these are not however just light-hearted pieces. Listen to the lyrics properly and they tell hugely poignant tales. Nothing from Vince is just a glossy façade …  everything has onion skins of depth if you take the time to go peeling within them…  with surgical precision …  so to speak.

From an old man at his table, to what real heroes are …

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The Makers Exchange; DOCA Call to the Creative

Thimbles on standby, Devizes Outdoor Celebratory Arts are calling all creative craftspeople and makers to their new project, The Makers Exchange. It’s a new craft…

Harmony Asia Can Do This

It’s a question I’ve asked Chippenham singer-songwriter Harmony Asia on each rare occasion I catch her for a chat; if she’s planning to capture a…

How it Feels for a Bluebeard!

The first time I heard the name Bluebeard and the Desperate Hours, I presumed their sound might be folk or blues inspired. Judging a book…

Gaz Brookfield’s Village Hall Tour Came to Lavington

West-side in the Lavingtons last night, tumbleweeds could’ve blown along the High Street as an army of highway operatives rode into the village with heavy resurfacing artillery. Yet, behind blockades at the village hall, a pocket of gig resistance stood their ground, guided by their temporary sheriff of entertainment, Gaz Brookfield. They were going out-out, even if it meant marching from Littleton Pannell or Rickbarton!

No one’s fault, just unfortunate timing, but I gladly report any clashes between parties was reduced to the mere possibility of some reveller tripping on a traffic cone in the dark – what else can I say of the incident? My mum always told me to watch where I was going!

In this wonderful village hall, though, everyone was made to feel welcome. Warmed with chilli, rice and choice of drinks, curious villagers and local Gaz fans melded for a memorable evening. Armed with just a guitar this all-round entertainer of the singer-songwriter variety fulfilled a promise to book himself into willing village halls as an initial part of a wider annual tour. Who am I to argue town and city venues get all the fun, and this genius idea breathes life into otherwise often quotidian or redundant halls? But the true genius of Gaz Brookfield isn’t only present in marketing concepts. 

Your typical singer-songwriter can be categorised thus; wonderfully creative yet timorous, bold but perhaps not so accomplished, or a pick of both positive qualities, as Gaz clearly falls into, an expert in confidently delivering self-penned marvels. It would seem nothing is off limits as a subject, as life takes its course Gaz reflects on any occurrence or newfound knowledge and views them equally as worthy of writing about. The result is variety. Habitual vow of playing a fun song after a melancholic one, Gaz explains this, as is he summarises the thought process behind each song with a balance of serenity and good humour.

You know what I mean, though? Some singer-songwriters, while talented, stand tense and only address an audience with “this next song is called,” whereas someone like Springsteen will drag a backstory out to epic proportions. Gaz finds the middle ground, a perfect balance. Yeah he gave a locally themed backstory related in his first gigs in a band playing his own village hall, but all intros were a brief synopsis, and on with the associated song.

Everything he plays is original, fans chant them back to him, but every layer of his personality, thoughts and observations are exposed on the stage he commands, that’s his honest beauty. Also worth noting, parallel to Springsteen or folk singers like Seeger, there’s sunny-side of the street, hometown themes, but Gaz confines himself to nada; there’s historic or apocalyptic stories, thoughts of symbolic tree carvings, blues about diabetes, and quite often, frank insights to being a musician. Through the quips and ditties to the sombre or reflective moments, if I’m making this sound as if Gaz is a jack of all trades, he’s not, he’s a king of them, an all round entertainer.

Weaving an audience under his spell, he relates, he engages an audience, makes them feel a part of the show rather than observers. Relaying an anecdote about an ukulele fashioned guitar, he drops off the stage and sings a shanty unplugged. A communal moment of sublimity alongside archetypal latest album plugs, and ending with a selection of previous known and loved works. Gaz is a tricky one to pin down, given the variety and proficiency he plays with, but he certainly ticks every box with a gold star.

A national gemstone from down our way. Expressing a love for the West Country just one tangent he focussed on, an ode to a friend amusing titled “nuggets,” and too many other ingenious prose to mention. Though this was not before a Tilshead support. Mischa of Mischa and his Merry Men arrived without said merry men, calling an opportunity to play some songs he wouldn’t usually do with his accompanying band. Singing of desperation, eco-anarchy though with a mildly blasé approach, and citing seventies electric blues influences in song, Mischa was apologetic about swearing, thrilled to be performing with Gaz, and made an apt and superb support act which would’ve been perfect with his collective as a headliner.

Being I reviewed Gaz’s 2016 album, I Know My Place pre-Devizine for a now redundant newsite, alongside Richie Triangle, Tamsin Quin and Phil Cooper he was fundamental to this voyage of discovery in local talent, I’m glad to finally tick him off the top of my must-see list, but wouldn’t mind at all making his gigs as something of a devotee. Aware of his music before last night, even in reviewing a live album, is a solid base but his ability to deliver a live performance in person borders on legendary.

The village hall tour continues until March, the closet being Hook near Swindon on the 23rd, further dates for his new album Morning Walking Club from April takes in Salisbury’s Winchester Gate on April 6th, and includes full-band festivals such as the My Dad’s Bigger Than Your Dad Festival at Swindon’s Old Town Bowl on July 20th. Find more details HERE, and do, you’ll be glad you did!

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Daisy Chapman Took Flight

Okay, so, if I praised the Bradford Roots Festival last weekend and claimed to have had a fantastic time, it’s all as true as Harrison Ford retelling Daisy Ridley about the Force, with one embarrassing hiccup!

Finally, for a brief moment between closing fire doors I met Trowbridge-based singer-songwriter extraordinaire, Daisy Chapman. She was going in, with her daughter badgering her for ice cream, and I was wandering out, assuring her I’d check the release date of the album she had kindly sent me for review. All a bit embarrassing on my part, I should’ve checked prior, She Took Flight came out in May last year, so opps, apologies, I’m late for the party, again!

Maybe this Daisy has equal power over the Force as Daisy Ridley, granddaughter of the Sith emperor Palpatine, or maybe she’s thinking, please don’t make Star Wars references when reviewing my album, you stupid fanboy! but wowzers, this is one magically epic and euphoric seven-track strong album only a Jedi could’ve made!

I wasn’t going in blind though, fondly reviewing her 2017 album Good Luck Songs, albeit belated again, in 2021. By way of comparing the two, I’d say while as the name suggests, Good Luck Songs is a sublime selection of songs with random muses, She Took Flight is concentrated on a theme and flows much better, with an overall narrative of life, motherhood, loss and love. Far be it to suggest it’s a concept album, but the thought, perhaps, is.

Dare I also suggest, akin to how Taylor Swift has financially benefited bending the folk rulebook to incorporate pop, Daisy folds similar, uniquely through dramatic piano and violin to define a confident euphoric and epic sound, like a musical classic. Though, with elements from so many sources and influences, to create something inspiring and enchanting, something she defines as “anti-folk,” I call it, in a word, enchanting. The uplifting musical reference is particularly true in the opening tune, Starlight, it’s a grand start.

Porcelain draws again on the epic, though incoming is Daisy’s refined and expertly crafted writing, often of arduous or dejected souls. This song drawn from a diary entry of the day her father died in hospital. Though there’s optimistic prose, as if life is starting over, only to be knocked back by the darker, probably most beguiling tune of the album, Womxn.

Over a subtle drumbeat the piano cruises like a well-oiled machine, and Daisy’s voice enchants like Kate Bush at her finest. Womxn’ chronicles a list of women
whose work was credited by men.

At the summit of the album lies the only cover, a perfect rendition of The Kinks’ Waterloo Sunset, this sunny side of the street against all odds concept is gallantly captured, and Daisy makes this song her own. I couldn’t think of another song so absolutely fitting for this journey, which mood changes with such gorgeous subtly, it’s breath-taking.

The Gashlycrumb Tinies will then twist the narrative of the theme. An abject abecedarian, inspired by Idilia Dubb, a girl who met her fate trapped up a tower in 1851, and various other historic tragedies. Herein lies Daisy’s writing influence, the likes of Leonard Cohen, and her ability to weave magic in her wordplay.

Wind Horses takes on the penultimate melancholic trip to insure you’re suitably impressed before this amazing album ends, a poignant piece, a cinematic nod to all who’ve attempted to climb the world’s highest peaks.

Then there’s something downhearted lounge-room jazz about the building layers of Ballad of a Distracted Mother finishing you off in no uncertain terms, Daisy Chapman’s voice is breathtaking, her writing astute and perceptive, and the dramatic string arrangements over her own ‘Nymanesque’ piano makes a this harmonic composition truly something to behold.

After forming bands at University in Bristol, Daisy released her first solo album
in 2004, a collection of sombre songs for just vocals and piano. Her cover of Cohen’s Halleujah proved hugely popular at the time on the iTunes chart and caught the attention of German label ‘Songs & Whispers’ who have since formed a 15 year relationship with Daisy, booking her shows across Europe and beyond.

Another cover song, Umbrella, received her an International Independent Music Award (USA) in 2009, which inspired a self-booked tour of coffee houses up and down Highway One on California’s Pacific Coast. Upon returning to the UK, Daisy was asked to be part of super-group Crippled Black Phoenix alongside members of Portishead and Hawkwind.

I’m sorry to have her performance at Bradford Roots, and wonder why they put an artist of this calibre on so early, but after hearing this I endeavour to catch her live as soon as, and I believe you will too.  Find out more about Daisy Chapman, here.

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Waiting for M3G’s new Single…..

So yeah, I thought I’d be funny by commenting “can’t wait” on Chippenham’s upcoming folk singer-songwriter Meg’s Facebook post announcing her latest single, because, you see, it’s called Waiting…. okay, I’ll get my coat….

Released tomorrow, Friday 8th December, there’s nonsense in my comment because, perks of Devizine, I’ve already heard it, and promise, you’re in for a pleasant surprise. Reason I say this is, it showcases everything I love about what Meg, sorry, M3g is producing. It’s solemn, solitary, and distantly unique.

Infatuation, admiration from a distance, fearing a possible negative outcome should the object of your desires find out, but the aching of knowing, are emotions present in Waiting, not only in subject but in the innocent and irreproachable way Meg expresses them. The conclusion is poignantly beautiful, personal, and touching. Meritoriously uncommon, Meg’s discography is building into something she should be proud of, and Waiting is a great example. 

If I drop her Spotify link below, do listen to the past songs, and return to it tomorrow, when the Waiting for this new one is over ….dammit, I did it again, my life is one big pun! Follow M3G on Insta, Facebook.

Who Knows, RAE?

With my boat sailing unchartered territory on this voyage of discovery for local talented youth, the rabbit hole continues deeper the further we network and rare findings simply keep coming, and today is no exception; singer-songwriter RAE is something rather special….

At seventeen, Corsham-based RAE most recently played Chippenham Pride, where she duetted with Jarret Brown of Melksham’s upcoming-now-household name The Sunnies. The tune is called PJ’s, and it features on her own self-penned debut four-track EP, Who Knows, which was launched early last month.

There’s subtle innocence in Rae’s acoustic opener, Do You Want Me Too? Simplicity is the key, capturing this truckload of potential in Rae’s delivery, and the ghostly musing of youthful romantic doubt. There’s even a studio moment of discussion left in, to create that personal touch. This is followed by the aforementioned duet with Jarret, PJ’s. Here is where Rae’s ability to compose the perfect acoustic ballad shines, clearly there’s a lot of thought and emotion wrapped in the beguiling chorus, and those verses are sublimely crafted.

Title track comes next, again dealing with mixed young romance emotions, a steady tempo enchants you, RAE knows precisely how to pluck the heartstrings. Yet the finale, I Hope U Don’t Miss Me is moderately uptempo by comparison, the moreish peach of the EP, the catch of which will have you chanting along, guaranteed, and as it fades you are left hanging cold, wanting more.    

It left me more than pleasantly surprised; there’s a sparkle here, like tasting iced sparkling spring water, with a slice of lemon, when you thought you were about to drink tap water! On Rae’s Soundcloud there’s also a cover of Niall Horan’s Heaven, which she puts her own stamp on; though this captures the skill of her delivery, through her own intelligently drafted lyrics, this EP goes the extra mile. Something about the clarity in a voice and guitar combo which is the raw essence of talent, and Rae has this natural bewitching ability to make you stop and listen.

As we continue sailing, to discover more locally-based talent, Rae is one you may have overlooked, but I urge you to anchor up and take a concentrated listen, as I tingle with anticipation at what she will produce next, for Who Knows is a wonderful and highly accomplished starting block. Do please have a listen, and tell me it’s not just me!!

LinkTree to RAE Music 

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