December 2015

Review Date May 12, 2012 Review By Alan Harrison Location Sunderland Minster I love discovering new venues but never in my wildest dreams did I expect to see a gig in a Church; but with the lack of mid sized concert halls in Sunderland the curators of the Minster in the city centre have volunteered to put on some acoustic concerts across the Summer. Opening act; Indie band Arbeia suffered from a tiny PA that was cranked up to 11 which meant that their “sound’ got lost in the cavernous rafters of the ornate building; but from what I could make out they sounded a bit like a Coldplay 45rpm record being played at 33. Not a great start to the evening. After buying beer and cakes we took our pew for a drums and guitar duo called Reckoner; who actually looked incredibly earnest but actually had tunes; but they too got lost somewhere in the midst of the muddy sound coming out of the speakers. By the time Natasha Haws strode onto stage the small stage was lit up with 100 assorted candles and the stained glass window in the knave, behind her made for a beautiful backdrop for the teenage singer. Her first song was called “Transatlantic” about a long distance relationship that’s not really working and her soft, almost whispered tones floated around the Gothic building like Angels wings. Natasha’s next song was the achingly beautiful “New Year” which was what first drew her to my attention last December, on a Charity Xmas CD produced by a local collective of musicians and tonight; together with the story behind the song, it visibly touched every heart in the 200 plus audience. Midway through the short set, Miss Haws introduced her best friend and musical Mentor Martin Longstaff aka The Lake Poets who joined her for two love songs that were drenched in atmospheric harmonies and some achingly good harmonica playing. My favourite song from Natasha’s EP-“Constant Fairytale” is about her young brother who suffered seizures and fits until a recent operation; but even without knowing the back story it truly is a brilliant song and when the teenager burst into tears at the final note every person in the building wanted to give her a great big hug. Another delight was when Nat “went electric;’ well, not exactly “electric’ but tonight Stranger was intricately strummed on a Fender Jaguar and the single snare drum backbeat created a vaguely Native American backing to a charming song. Then it all went pear shaped. Natasha’s simple acoustic sound had been perfect for the tiny PA all night so my heart went out to her when her guitar lead decided to stop working just as she introduced her final song and current single “Stepping Stone.” An array of young men scurried around trying to fix the problem; leaving the young singer to laugh and joke with friends and family until a spare guitar was eventually produced. What a trouper what a star! When it finally came; “Stepping Stone;” (about a callous youth dumping her); was well worth the ten minute wait and deserved every second of the standing ovation it and a teary Natasha received as it ended. Find out more at

Review Date September 20, 2012 Review By David Knowles Location Gibson Guitar Studio, London This was a very special album launch for press and a few lucky fans who won tickets to see Scottish blues singer-songwriter and multi-instrumentalist, Sandi Thom. Food and drink was laid on for all to partake in, although the beer ran out halfway through the show, to which Sandi joked that her band and especially her mum had probably drunk most of it before the audience were even allowed in. Sandi had her full band on stage with her as she performed a 45-minute set of songs from her new album, FLESH AND BLOOD. Starting strongly with the heated and raging “Help Me” with Sandi’s voice in superb form, plus she also played some exquisite blues harp. She kept her foot on the gas for the fiercely commanding “Stormy Weather” on which her voice came at you like a hurricane, accompanied by the tornado whipped up by her own signature series of harmonica. The pace dropped slightly as Sandi turned more gentle on the gorgeous “Big Ones Get Away” from the pen of Buffy Sainte Marie. Buffy sings it with Sandi on the album but on the night the duet was performed wonderfully with her backing singer. Some fine slide guitar complemented Sandi’s own acoustic guitar playing and preaching vocals on the sermonising “Rise As One.” She then sang possibly my favourite song on the album, “I Owe You Zero.” The song is a dig at all the people who have tried to put her down, hold her back and generally get in her way-this is Sandi telling them that they don’t know her at all. Her vocals start softly but then build to a climactic crescendo with scything guitar and crashing drums; an absolute gem of a song. The breezy “Sun Comes Crashing Down” was followed by the title tune “Flesh And Blood” with Sandi playing a Gibson Les Paul 12-string electric guitar, making her the envy of all the wannabe guitarists in the crowd. Most of the band then left the stage, just leaving one band member on acoustic guitar to accompany Sandi’s enchanting vocals on the endearing “I Love You Like A Lunatic,” about her relationship with boyfriend, Joe Bonamassa. The rest of the band then came back out as Sandi finished with “Lay Your Burden Down,” all about letting go of the past and all the pains that came with it. Although Sandi was doing another gig at the 12-Bar Club at 10.30pm, she still came out and chatted to people before she left. Sandi Thom is a genuinely nice and very lovely person and a terrific singer, musician and songwriter. Hopefully this new album will finally open all the doors needed for her to get the fame she deserves. Personally I can say that both my brother Steve and myself came away from Gibson’s knowing that we had seen a great gig. Find out more at

Review Date January 14, 2013 Review By Eric Thom Location Hugh’s Room, Toronto, Canada Don’t get me wrong; I was never a huge fan of Ultravox, but I always had time for Midge Ure and his singular, stylish voice, following him into his solo career and beyond-none of which would properly prepare me for what I would witness at this show. It opened innocently enough-Midge had connected with California band, Right The Stars, who opened the show. They were good, not great, probably because the packed house was clearly there to see somebody else. You know the feeling. Opening can be awkward, especially for unknowns. Somewhat locked in another era of meaty-to-airy Brit-pop, landing somewhere between the Psychedelic Furs with a dash of The Fixx, they proved to be better players when they slowed things down, as proven by songs like “Train To Glasgow.” A phenomenal bass player, Alex Balderston upped their potential for being somewhat adventurous, if not somewhat atmospheric, with their menu of sounds. The band seemed at a bit of a loss as to their true identity, musically. One would never expect them to be up to the task ahead of backing up the indefatigable Mr. Ure. One ten-song-set later, I’d be proven very wrong. Enter Midge Ure, consummate professional, dressed to the nines and looking like a million bucks even before opening his mouth or strapping on his Les Paul. A tiny, passionate man, balder than Mr. Clean, with piercing but friendly eyes, he jumped up on the stage and ripped into “Fields Of Fire” with something more than vigour, neither his voice nor his demeanour showing any signs of age (beyond the loss of those patented sideburns). Somewhat surprisingly, Right The Stars rose to the occasion, rejuvenated by the energy of this Scottish fireball. As guitarist, Asaf, took hold of the mighty synth keyboard, he became part of the Scottish thunder which ensued, as if William Wallace, himself, was leading a horde of Scots over the moors against the Longshanks. Highly spirited songs like Ultravox’s “Love’s Great Adventure” and “One Small Day” grew into massive groundswells of love and memories rekindled, while the inspirational “Hymn” became anthemic in scale, growing the audience into something powerful that went well beyond participation. Joking that some of his biggest hits were had by others using his work-or he using theirs-Ure singled out “Breathe,” a song resuscitated by Swatch advertising, preventing it from forever being his worst-selling album. Another, “Fade To Grey,” became a massive hit for Ure prodigy Visage and, here, the audience embraced it on a slightly frightening scale, singing their hearts out as if they’d reconnected with a long-lost love. The expected “Dancing With Tears In My Eyes” elicited dance fever, Ure peppering each of these songs with his own piercing leads and adding real muscle to what was once simply neo-romantic pop fare. “Vienna” and “Dear God” made complete putty of his fans, as if no time had passed since this music was born, rejuvenating it with his own ferocious lead guitar bursts. Ure’s own “Just For You” was given a harder-edged, rock feel, providing bassist Balderston with a springboard for his talents. Another iconic song, “No Regrets,” provided Ure with another opportunity to lament that; although it had became his signature song, it had somebody else’s signature on it-Boston folkie Tom Rush. “Answers To Nothing,” albeit a subdued rocker, was buoyed by power chords and propulsive percussion. That there was an equally thunderous call for an encore was no surprise, the dapper and deserving Glaswegian basking in the crowd’s appreciation and, without leaving to come back, performed “Don’t They Know It’s Christmas?”-Its crowd-friendly chorus of “feed the world’ providing the audience a means of getting closer to giving something back. Far from the grey-hued, somewhat melancholic character I expected to encounter, Midge Ure and his still-vital music proved a force of nature. A joyous, enthusiastic individual clearly in control of his next move, here’s hoping it returns him to the rightful position he has earned many times over. Find out more at 

Review Date February 13, 2013 Review By Nick Dalton Location Slaughtered Lamb, London It was like the dress-down reception after the wedding, a warm pub cellar bar with plenty of sofas and plenty of friends all having a good time. My Darling Clementine is the award-winning country-couple project of Michael Weston King and Lou Dalgleish and the real life couple usually appear in wedding dress (her, obviously) and sharp suit. At other venues (one a church, the other the Union Chapel) they walked down the aisle to the stage; here, in more casual attire, they simply edged past the packed bar. But the music was the same, a classic collection of modern-day, self-penned duets backed by a sublime band. And, just as at any reception, the sense of a new beginning. My Darling Clementine’s album HOW DO YOU PLEAD? was always going to be a difficult one to follow, yet the lovely couple have managed it with a new set-tentatively called UNHAPPILY EVER AFTER, recorded at the studio where music trendsetter Richard Hawley makes his music, with his band and guests including Kinky Friedman and the Brodsky Quartet-which they previewed here. The cracking rocker “Leave The Good Book On The Shelf,” the tearjerker “I No Longer Take Pride” (mostly a Weston King tale of woe with Dalgleish coming in for a final verse) and “There’s No Heart In This Heartache” all suggest that far from a couple who’ve taken things as far they can go, they’ve actually got a new spring in their step. The band-Martin Belmont on twanging bass lead guitar, Alan Cook on classy pedal steel, Liam Grundy providing honky-tonk piano, and bassist Kevin Foster and drummer Neil Bullock providing a tight rhythm-have become tighter yet more fluid in the 18 months that they’ve been together. Aside from the new stuff there was the bulk of the debut album-“I Bought Some Roses” (that has developed a rip-roaring rockabilly edge), the country-rock of “1,000 Words,” the sadness of “Nothing Left To Say,” the hope of “Reserved For Me And You” and the gentle rocking of “Going Back To Memphis.” And, just to turn things on their head, a “real’ song from the past, the Johnny Cash and June Carter ode to togetherness, “”Cause I Love You.” The honeymoon is far from over for My Darling Clementine as they start to rock America and with the new record out in the summer, catch them now before they’re playing in cathedral-sized venues. Photo credit: Richard Thorpe Find out more at 

Review Date June 21, 2013 Review By Jela Webb Location St George’s Church, Brighton Promoters Melting Vinyl who have been bringing live music to Brighton for over a decade, once again pitched it perfectly by staging Ron Sexsmith in the hallowed surroundings of St George’s Church. The venue, with its wonderful acoustics and seating for up to 600, was pretty much full downstairs and a keen anticipatory vibe extended throughout the audience gathered for the show. Chatting with fans beforehand, together we pondered why Sexsmith who is so revered by many, has never really broken into the “big time.’ He writes songs that are simply short lyrical masterpieces, his voice is so appealingly distinctive and he has a cannon of work that is highly regarded by fellow singer-songwriters (fans include Paul McCartney, Elvis Costello, Ray Davies). In the final analysis we concluded that Sexsmith seems uncomfortable with all the other “stuff’ he needs to do to make that crossover. His self-effacing, introverted personality is perhaps at odds with having to “play the game’ and so he seems destined to remain something of a cult hero. Tonight, this cult hero, accompanied by a four-piece band who are his regular touring partners-Don Kerr (drums), Tim Bovaconti (electric guitar), Jason Mercer (bass guitar) and Dave Matheson (keyboards) ran through a 26 song set list. It included firm favourites, pre-show requests, more than a smattering of material from the latest release FOREVER ENDEAVOUR and a very rare performance of “Foolproof” from 2001’s BLUE BOY. Sexsmith had heard someone request “Foolproof” so gave it a go during the middle section of the evening when he was playing solo. Needless to say, the crowd was delighted to hear it. Sexsmith and Kerr released DESTINATION UNKNOWN a duo album back in 2005 and played “One Less Shadow” from it-it was good to see Kerr feature front of stage on vocals, rather than in his usual place, behind the drum kit. His tenor nicely complementing Sexsmith’s quavering voice. Sexsmith also dispensed with the band, except for Matheson, for “Miracles” teasing the other three by saying that it was too complicated for them! He dedicated the song to a couple who had been married to its strains-that’s the kind of devotion he inspires. He had another couple up on their feet and dancing in the aisle to “She Does My Heart Good” and they encouraged a few more to get up and dance too. All of them received a wonderful round of applause for their efforts. It was that sort of Midsummer night-laid back, dreamy, relaxed and happy both on stage and off. A standing ovation brought them all back for encores and included the only cover song of the night, Elvis Costello’s “Everyday I Write The Book.” Sexsmith is a gentle, honest soul who deserves every success-he refers to the new album as “lucky 13′ and let’s hope that it turns out to be just that! Find out more at www.ronsexsmith.com

Review Date February 17, 2013 Review By John Roffey Location Pavilion Arts Centre, Buxton On the third date of a month long UK tour and with a new album due for release the following day, it was no surprise that Heidi Talbot showcased ANGELS WITHOUT WINGS, her fourth solo effort whilst also delving into her back catalogue of critically acclaimed albums to enthral an impeccably behaved full house. Hailing from County Kildare, the former Cherish the Ladies lead singer possesses a voice to die for and which could only be enhanced with the support of multi-instrumentalist and producer John McCusker, and the inimitable guitar playing of Ian Carr. Equally at home singing love ballads, sea shanties or traditional Irish music, it’s no surprise that she’s been nominated for two BBC folk awards and can attract the likes of Mark Knopfler, Jerry Douglas, Richard Bennett and Boo Hewerdine to contribute to the latest album. Heidi opened with “Grace Darling,” included in her EP of superfluous tracks MY SISTER THE MOON. Almost immediately she had the audience singing the chorus: “Haul away, haul away,’ before launching into “The Shepherd Lad,” a traditional folk story of a maiden caught swimming “in the clothes she was born in.’ A proposal of marriage is forthcoming but the outcome is of course, predictable! Then it was time for a love story with the beautiful “Start It All Over Again,” “Dearest Johnny” and the terrific “Button Up” about a tornado. A sea shanty, “Sally Brown” and the gorgeous love song “The Loneliest” led us into the break with another audience sing-along, “Music Tree.” “Bedlam Boys” and Tom Waits’ “Time,” both from the 2008 offering IN LOVE & LIGHT got the second set off to a fine start before John and Ian took over with a medley of instrumentals; a new (as yet untitled) tune, “Margaret Ann’s Silver Wedding Anniversary” and “Billy’s Reel” written for comedian Billy Connolly. Another love story “Wine And Roses,” Boo Hewerdine’s title track “Angels Without Wings,” “My Sister The Moon” and all too soon it was time for the final number of the evening, the up-tempo “Everything.” After prolonged applause and much stamping of feet, an encore was inevitable and Heidi returned to deliver a wonderful version of Sandy Denny’s appropriately titled “At the End of the Day.” What a superb evening! Naturally a stock of the new album was available for sale “not to be opened until tomorrow,’ and business was booming on the merchandise counter as Heidi appeared quickly to chat and sign autographs. Anyone not familiar with Heidi’s music and who likes their folk music in easy listening style should check out her albums or catch one of her shows. You won’t be disappointed. Find out more at