It is entirely possible that although this is their first review in the magazine, you may already be aware of Fourth in Line. They have been playing live around the area for some time now (including at the Godiva Festival & Jagfest) and you may in fact have seen them under their original name of Lingua Franca. Lead vocalist & rhythm guitarist Louie Forde is a very popular & respected solo artist & has been so for a number of years, with many live gigs under his belt & a long stay in the HillzFM local chart: in fact the band now currently sit at number one in it with "On The Run" from this, their debut & eponymous EP.
As well as Louie, this bluesy rock band comprise Rob Sampson on lead guitar, Jack Maltby on bass guitar & drummer/percussionist Lloyd Williams. So now you know the facts.
The EP kicks off in compelling style with the throbbing "You and I". What first impressed me in fact was the production wherein Louie's fine vocals are crystal clear over the powerful backing: as is the excellent guitar solo which cuts in with stiletto brevity. In fact this aspect is another big plus of the whole set, no aspect outstays its welcome, being edited tightly for impact: no flab here.
If the first track was notable for its staccato nature, track two, the chart topping "On The Run" is a groove orientated one: again with excellent vocal mixing but this time the dominant instrument is the bass, loping around with a dub state of mind, collaborating well with incisive drumming.
Third up is "Off The Tracks" which is yet another approach: this time its dance I immediately think of. If every one of the songs sounds a sure fire live favourite, then this is the one which I think will get the floor heaving. Funkily sure footed the instruments all work together to create a mesh of riff-centred backing before once again breaking the song up with short, tasteful solo contributions.
All too soon the EP comes to an end (it's a pretty good tactic I think to leave us all panting for more) with "Disillusioned": perhaps the most "rock" styled of the quartet & yes they can really play rock. Although I am delighted that "On The Run" is top of the charts, it is this last track which positively screams "single" to me.
Setting their stall out with such a fine debut is much to the band's credit: can't wait to catch them live.
A SonicPR promotion ...
"He is one of a kind, and whether he likes it or not, he's an absolute legend, and I can't think of anyone on planet Earth who has a better story to tell." - Gary Numan
"I toured a lot with The Mission and Wayne was much too bright and nice a guy to be in the rock business. He always had a sense of humour." - Iggy Pop
"After years and years of living with repression and religious guilt, I had finally shaken off those shackles to become the clichéd licentious, degenerate, promiscuous rock star – everything that my mother had feared I'd become." - Wayne Hussey
WAYNE HUSSEY is pleased to announce his ‘Salad Daze Tour 2019'.
Perhaps best known as the frontman of totemic goth rock outfit The Mission, Wayne will be embarking on an extensive UK tour in support of his autobiography: 'Salad Daze', released earlier this year.
The 16 date run will see Wayne spinning yarns of a legendary life in rock'n'roll, plus performing many of the unforgettable tunes that have soundtracked his illustrious career in music. Kicking-off at the Queens Hall in Nuneaton on 26th August and winding up at the Komedia in Bath on 6th November, the full list of dates and details are included below.
Born in Bristol and raised as a Mormon, Wayne had his epiphany as a young boy watching Marc Bolan and T. Rex on Top Of The Pops. Seeing his destiny in a blinding flash of glitter, mascara and dark curls, he decided he was going to be a rock star too. Later, leaving Bristol to move to Liverpool – home of his beloved Liverpool Football Club and birthplace his favourite band, The Beatles – it wasn't long before Wayne surrendered to excess and debauchery as he gained international recognition and notoriety as lead singer and principal songwriter in The Mission, after previously being guitarist with The Sisters Of Mercy, Dead Or Alive, and a member of Pauline Murray's Invisible Girls.
The Salad Daze Tour will see Wayne opening up about his childhood up to his life in The Mission and everything in between. Explaining why 2019 was finally the time to tell his story, Wayne says:
"I'd recorded seven albums in eight years, and by the time we'd finished the last Mission album in 2016 I felt creatively exhausted and needed to do something else for a while. I'd been approached about writing an autobiography but always felt I'd rather make music than write a book. With my 60th birthday fast approaching it just felt like the right time to sit down and recall my life. It's a strange thing, writing about yourself. There's a certain conceit involved, that your life warrants recording and might be of interest to someone else, and it took me a while to come to terms with that premise. But once I did I thoroughly enjoyed the process."
WAYNE HUSSEY – SALAD DAZE TOUR
Support at all shows comes from special guest: EVI VINE.
TICKETS ON SALE NOW:
* * * * *
Bristol born & bred, and passionate Liverpool FC supporter, Wayne Hussey, lauded by some as maverick legend and others as charlatan, has been making music since the day he was first inspired to pick up a guitar after watching Marc Bolan & T.Rex on Top of the Pops.
A long and excessive and sometimes downright scandalous road has led Wayne to where he is today. One thing is certain about Wayne, he's certainly a divisive character.
Playing with various "punk" bands in Liverpool at the tail end of the 70′s, and after enjoying the dubious pleasures of touring for the very first time with Pauline Murray & the Invisible Girls, he met the flamboyant Pete Burns and joined the then fledgling ‘Dead or Alive'.
Two years spent in the service of the Scouse ‘Boy George' schooled Wayne in such subjects as hairstyle, fashion, & gender bending. It was the early 80′s after all, a period of time where style really was more prevalent than substance. After many failed hairstyles and with a suitcase full of stolen dresses and a couple of ‘hit' singles, Wayne decided to leave Liverpool and Dead or Alive.
He headed across the Pennines to Leeds to answer the call from Andrew Eldritch & The Sisters of Mercy. The Sisters needed a guitarist who could wear sunglasses in the dark and would spray paint provocative slogans on his guitar – Wayne was more than able and willing.
After another two years spent touring the world and developing some very bad habits, and contributing his song writing talents along with his very distinctive guitar sound to the seminal TSOM ‘First & Last & Always" album, Hussey, in a fit of inspired pique, left the Sisters with bassist Craig Adams to form The Mission.
The Mission went on to considerable global success in the late 80′s and early 90′s, enjoying album sales in excess of four million worldwide with notable works such as ‘God's Own Medicine' and ‘Carved In Sand' amongst others and enjoying an unbroken run of 14 UK Top 40 singles! They forged a reputation that still stands today as one of the best ‘live' bands in the world, thanks in no small part to the charisma & energy that Hussey exudes & exerts on stage.
The Mission took a break of 5 years in the mid 90's in which time Wayne relocated from the UK to Southern California and spent his time remixing, producing, and making music for film. The band reconvened in 1999 and to this day they tour the globe, and released highly acclaimed albums in late 2001 entitled ‘AurA', and ‘God Is A Bullet' in May 2007.
Original members Simon Hinkler, Craig Adams, and Wayne Hussey re-united in late 2011 to celebrate their 25 year anniversary with a sell out tour, and released a new album containing 12 Hussey newly penned songs, the very brilliant ‘The Brightest Light' in September, 2013, followed by their first UK Top 40 album in more than 20 years with 2016's fan-favourite & critically acclaimed ‘Another Fall From Grace'.
In 2002, alongside his activities with The Mission, Wayne, armed with just an acoustic guitar and piano and a bulging song-book, started playing solo shows. Wayne's solo show has since evolved and now incorporates the use of electric guitars both 6 & 12 string, baritone guitar, ukulele, and some backing tracks. Each show is totally unique and spontaneous. And with a songbook of over 200 songs there is no set list as such; what Wayne plays is largely dictated by the involvement of the audience and will usually consist of new, intimate readings of ‘classic' and lesser known Mission songs, a smorgasbord of entertaining cover versions, and brand-new never-before heard songs. Wayne's creed; ‘give ‘em a little of what they want, a little of what I want, and a little of what I think they need!
Since 2002 Wayne has played many successful shows throughout the UK, Europe, Latin America, USA, & South Africa.
In 2008 Eyes Wide Shut Recordings released his first solo album entitled ‘Bare'. A second solo album entitled ‘Songs Of Candlelight and Razorblades' was released in September 2014 and reached the top 40 In the UK independent Charts, with the subsequent live DVD debuting at number 2 in the UK national chart. Wayne played a mammoth 50 plus date World tour to coincide. Which he will do again later this year, 2019, in support of the publication of his rave reviewed autobiography ‘Salad Daze', published by Omnibus Press in late May.
Wayne is vegetarian and resides in Sao Paulo, Brazil.
Loved my visit to Cropredy again this year, fab to see Wildwood Kin on the big stage going down a storm while other highlights on and my visit included a fine dose of prog rock by Caravan and wonderful sets by Richard Thompson and a full of action Seth Lakeman.
Also loved the diverse set by Wilson & Wakeman which stretched from David Bowie to Les Miserables also caught acoustic sets at the BBC Radio Oxford tent including a couple of numbers performed by Frank Turner.
Well here I am again, this time reviewing not one but two artists on whom I fear I may have already used up my supply of appropriate superlatives in previous reviews.
But of course not. They are so good that the last thing either would do is simply produce facsimiles of past concerts.
The Mechanicals don't have support acts as a rule, yet such is the level of mutual admiration that yesterday afternoon at the Magic Lantern, this rule was set aside for their guest Ellie Gowers. After all they have much in common: consummate musicianship, impeccable taste, a drive to create their own music on entirely their own terms plus one other similarity which I'll reveal in a moment.
The latter as is her wont, held the rammed venue spellbound: from her traditional a cappella "Robin" set opener, you could hear a pin drop. Even when she started playing her guitar, the intensity of her performance was only matched by that of the audience's attention to it.
As I've said before, Ellie completely inhabits her own songs, dancing & moving to them with a restless energy matched in the pieces themselves: passionate lyrical images set in idiosyncratic melodic structures: although Ellie is probably thought of as a "folk" singer, her writing completely avoids the traditional formal structures of that genre with neither words nor music repeating in the predictable ways of the canon. We are always kept guessing at what is coming next.
The only negative aspect of Ellie's set in fact was that immediately after delivering what sounded to us all as a haunting pitch perfect rendition of "For A While", she was forced to curtail her set as her voice had gone. What it must have cost her to deliver that last song in that way is impossible to guess, but I thank her as the song is one of my favourites: I defy anyone not to have a moistness in the eye so moving are the words & melody.
I suppose too that it was fortunate that one of the songs she had in the earlier part of the setlist was a brand new one "The Sky Is On Fire" which could well be her finest so far. I suggested it was "zeitgeisty" to her afterwards & she seemed happy with that so I'll leave it in. You really do have to hear it to appreciate it so I recommend that you attend one of her live shows since Ellie also said that she won't be recording it until she has, in her own mind, perfected it (and since she has plans for future musical collaboration, I imagine that will be a factor in its final arrangement). And don't just take my word for it: I think we can safely say that if a musician who was present and has had a number one single calls it "awesome" then it is indeed a really great song. (Incidentally I am just adding this sentence as while I was finishing my review I caught sight of a comment by Adam Barry of Merrymaker about Ellie saying "Simply put, I don't have the vocabulary to put how good this girl is into words. From the opening line to the final chord, she's hands down one of the best artists I've ever ever had the pleasure to listen to and to hang out with.....you're an inspiration, and you've NO idea how good you are. Incredible". How could I not include that?)
Catch up with all things Ellie Gowers at her online bases:
You can catch her live back at Temperance on September 7th with Greengrass as her special guests.
And thus the Mechanicals began their set a little earlier than scheduled, by about two songs' worth of time. They too had temporarily lost a vital element but more fortunately it didn't stop them playing. Viola player Katrin Gilbert was unable to be part of the band & as drummer Ben Haines said, the other four filled the space she left in the arrangements. This manifested itself in several ways including violinist Jools Street standing rather than sitting and in the intimate space of the Magic Lantern, there was more room for him and double bassist John Parker to move about as their music took them, adding a visual element not usually associated with the Mechanicals. Whether this too accounted for the slight shift in the set towards the more jazz orientated end of their repertoire is moot: it may have been a nod to the recent birthday of Philip Larkin (born 97 years and two days previously): they have been working on a suite of songs "The Righteous Jazz" for a hybrid music/drama celebration of his life. Several of the songs from that project were played, along with three of the Shakespearean settings from their first album ‘Exit, Pursued By Bear' and several from their latest EP, ‘Miscellany #1', moving seamlessly from jazz to folk to classical & various composite styles entirely of their own, enriched by the textures only musicians of such calibre can bring, yet not allowing their own virtuosity to detract or distract from their prime objective, to give poems they (especially singer/guitarist Wes Finch) admire, settings which complement & enhance the original words.
I have noted in previous reviews how although starting with writers well known to me, such as Shakespeare, Masefield, Larkin, Yeats etc, their latest work has introduced me to poets previously I was unaware of (thank you), none more unknown to me than the most recent writer they have set, Australian artist/cartoonist/poet Michael Leunig whose poem "When The Heart" was in the set & it was a highlight of the evening to have Australian audience members who were familiar with him & his work: a first apparently for the band.
Where they had a similarity with Ellie I mentioned earlier, was in playing a superb & unrecorded (to date) new song "I've Got Your Back": the only original song of Wes they played & I think one of his best, even by his high standards. As with "The Sky Is On Fire", this is one I'd really liked to hear recorded & to thus have with me.
It was a wet day outside & the steam rose from the audience as Ellie observed. However the sheer joie de vivre of musicians so enjoying what they were doing, what each other was doing & the audience in turn appreciated this themselves made for an afternoon & early evening not to miss however damp we were to begin with. I'll give it five stars as that's what real reviewers do.
The Mechanicals will be performing "The Righteous Jazz" on November 2nd at Hull Truck by the way.
Few "Hot Music Live" readers will need introducing to the name nor talents of Sam McNulty. Even if you weren't around for his late 1970's foundation of top Coventry punk band Squad (thereby launching the career of original vocalist Terry Hall), you may well have delighted in his much loved subsequent band The Giraffes & its successor Two Giraffes. Even those too young for either will know Sam for his ceaseless promotion, encouragement & mentoring of local musical talent via such avenues as open mics, his Godiva Festival & other festival stages & his writing.
True to his ethos, Sam crafted his own evening at the Magic Lantern also involving two great talents he had encountered via his music evenings, Angelo Cardone & Bill Cameron. Even the structure was carefully honed with the notion of "headliner" and "support" blurred in terms of running order & stage permutations, each playing a solo set, a final trio ensemble performance & combinations of them all as duos.
Sam began the evening with a beautiful solo set of material from the classic Two Giraffes' 2005 conceptual album "Twelve Songs", reminding us of the exquisite melodicism of that band & naturally evoking memories of the late Steve Edgson, Sam's partner in the band & many of whose friends were present. One of the songs he played in this part of the evening was "Clifftop Dreaming" which of course he kindly allowed up to use of Volume One of "Hot Music Live Presents"
Neapolitan Angelo Cardone is one of the artists making a big reputation locally at the moment, winning fans as soon as they hear his talents. A frequent BBC Coventry & Warwickshire Introducing presence, I myself witnessed jaws drop at his 2019 Godiva Festival performances. This classically trained tenor & superb guitarist offers our area so much: not least his repertoire of traditional Italian songs but also his own excellent, sensitive material plus moving interpretations of songs such as Don McLean's "Vincent" and "Through The Barricades" originally by Spandau Ballet. Not a combination one hears from a single artist too often. Singing in both Italian & English with equal facility, Angelo frankly entranced the room & received long & loud applause from the packed venue after every song.
Check out all things Angelo at his page: https://www.facebook.com/angelocardonesinger/
Bill Cameron is I understand, primarily a jazz pianist, (and I was lucky enough to hear him play during the soundcheck on the vintage Magic Lantern piano, so recently tuned that the tuner was sitting there enjoying it too), however we got to hear another three aspects of his talents tonight as he accompanied himself on guitar for a solo set demonstrating both his skills on that instrument and his equally excellent singing voice and then he accompanied both Sam & Angelo on sax.
The final portion was dedicated to more of Sam's canon: delving back into the Giraffes days for classics such as the beloved "Lazy Hazel Heart" single of 1990 and bang up to today for material from his forthcoming solo album (possibly to be titled "From The Land of the Broken Hearts")
I've heard Sam play both sets of material but usually solo, so the addition of Angelo on lead guitar & backing vocals plus Bill evoking the original clarinet parts of Steve Edgson (on the Giraffes songs) on his sax, added a great deal of nuance & texture & frankly brought back memories of the Giraffes with the similarity of the sound to the originals.
The new material fits in nicely with the old as Sam's melodicism & romanticism endures. Love & its loss feature strongly in his songs & he also has recurring weather/nature motifs. One new song concerning "Mademoiselle" particularly caught my attention, as it managed to feature lyrics in English, French & Italian.... the latter thanks to Angelo of course.
To say that the audience enjoyed it would be something of an understatement and it was another privilege to hear such writing & performance talent in a space & place where it could be enjoyed to such respectful advantage: can't wait to hear them again.
You can catch Sam's open mic sessions at Millsys in Earlsdon on Monday evenings (not a bad place to catch Angelo nor Bill either). Listen out too for Angelo on BBC Coventry & Warwickshire Introducing where he is getting regular plays.
One of the issues which is a perennial worry for me in writing for "Hot Music Live" is how to cover even the most excellent of artists, the ones we should be reporting on, when I see them only a few months after my last review. We all realise & accept that most artists for obvious reasons may well have much the same setlist & lineup from gig to gig & in all honesty "they sounded as great as last time" isn't much of a review to offer you.
In practice, as hopefully my reviews show, this really doesn't happen with the calibre of artists we have around here currently: as anyone kind enough to follow my writing will see, I have repeatedly put myself in such a position yet every time lineups have been tweaked & even more often substantial repertoire changes made.
The Burning Salt gig at the Magic Lantern last night was no exception. When I saw them last in early May, the band playing consisted of singer/writer Hannah Hull on guitar & keyboards, John Parker on his customary double bass plus lead guitarist Bobby Williams. This time it was just Hannah & John so the sound had changed considerably in the arrangements of the songs I had heard before which was most interesting. Equally, the last time they played songs mostly from their latest album "Automatic Lullaby" and their "Dirt" EP, the collection of songs written about staff & inmates at Holloway Prison. This time, although material from both still featured, a significant portion of the set came from their upcoming 19 song (no that's not a typo) album "Close To Home", whose songs reflect Hannah's personal experiences in the way those on 'Dirt' reflected those of others.
Without Bobby's many textures, the songs tended to be stripped right back to their stark, bare bones: which given the equally stark, often haunting, frequently deeply unsettling lyrics, was highly effective.
The songs are unique to the point of being very unconventional & by and large the arrangements were equally unconventional to match.
John, whose bass playing I have loved & admired since I first heard it with Nizlopi, generally played a long way from the folkish roots with huge amounts of jazz & even hip hop stylings he used with that band. He varied his style quite a lot this time to complement Hannah's playing & to suit each song, but it was interesting how relatively high his lines were placed in many arrangements: often rather classical in style, he often adopted the sort of part one might normally expect from a ‘cello (John's bow got deployed quite a bit during the evening). Not that that meant he didn't play the odd Mingus type part when he felt it was appropriate.
I was struggling to adequately describe Hannah's vocal range & was rather tentatively going for "contralto" so I asked her: she revealed that there is a big cross over with a tenor range & that helped me: it is most strange but at times the lowest element in some arrangements came across as a (female) voice…. Which isn't terribly conventional is it?
Her playing of both instruments tends to be rather spectral to suit the tone (though on one of the more energetic numbers she switched from delicate picking to enthusiastic strumming) but on one of the most catching of the new numbers (one picked out by several people at the break), her piano playing had Bach like qualities I thought: though I bow to John who went for Debussy.
As with all her past songs (with the possible exception of "Superstitious Woman"), Hannah's lyrics can be melancholic at their lightest and can tell grim (genuine) stories at the other end of the spectrum: which, as I said last time, is in stark contrast to her buoyant & good humoured demeanour between them. It is probably a yin & yang thing.. Her performances are intense but that it is in the pursuit of emotional honesty: I found it illuminating that in conversation with her, she cited Patti Smith, another artist who would not dream of delivering work in any other way.
I for one am really looking forwards to "Close To Home" next Spring & hopefully Burning Salt will return to Leamington to play a gig promoting that record then.
Thanks too to Paul Otten who kindly gave his time to get the sound for this gig right (believe me with music this exquisite, poor sound could have wrecked the entire effect) and Martin Luckhurst for a vital equipment loan.
A SonicPR promotion ...
Following the release of their new album ‘Years To Burn', CALEXICO AND IRON & WINE will play a string of UK dates this November as part of their UK/EU tour.
Calexico and Iron & Wine first made an artistic connection with In the Reins, the 2005 EP that brought Sam Beam, Joey Burns and John Convertino together. The acclaimed collaboration introduced both acts to wider audiences and broadened Beam's artistic horizons, but it was the shared experience of touring together in the tradition of Bob Dylan's "Rolling Thunder Revue" that cemented their bond. Their metaphorical roads diverged in the years that followed, but they kept in touch and cross-pollinated where they could. But although they often talked about rekindling their collaboration in the studio and on the stage, it wasn't until last year that their schedules aligned.
Years to Burn can't help but be different from In the Reins. Back then, Calexico entered the studio with a long list of previous collaborations (first in Giant Sand, then backing the likes of Victoria Williams and Richard Buckner) and the knowledge that they loved Sam's voice and his songs, but wondering if his material was so complete and self-contained that it lacked a way in, so hushed and delicate that it might be overwhelmed. For his part, Beam had been intimidated by their virtuosic playing and their deep comfort in an encyclopedic array of styles. "In my mind, I was a guy who knew three chords and recorded in a closet," Sam says. "They were playing big stages and were superb musicians."
Those fears were dispelled quickly. Calexico was bowled over by Beam's many talents: "The arranging, the writing, his sense of rhythm, the quality of his vocals—and then there's the experimental side of Sam," Joey says. "They were the perfect band at the perfect time for me," Sam adds. "I loved all their different sounds. They're musical anthropologists, not regurgitating but absorbing what they discover." Nearly 15 years on, "coming back to the project has to do with acknowledging how much impact the first record had for me in my life."
Beam, Burns and Convertino reconvened in Nashville for four days of recording in December 2018. Nobody was keen to retread old ground. The change of venue—from Calexico's home base of Tucson, where In the Reins was tracked—was one part of the effort. Together with Niehaus, veteran Calexico trumpet player Jacob Valenzuela and frequent Beam cohorts Rob Burger (Tin Hat Trio) on piano and Sebastian Steinberg (Soul Coughing, Fiona Apple) on bass, they settled in at the Sound Emporium, a fabled studio founded in the sixties by Cowboy Jack Clement and the site of countless landmark sessions in country and rock over the ensuing decades. Convertino got chills when he found a framed photo of R.E.M. on the wall: Document was recorded there.
Another added ingredient was engineer Matt Ross-Spang, whose recent resume includes producing Margo Price's Midwest Farmer's Daughter, working with Memphis legends like Al Green in the Sam Phillips studio that's now Ross-Spang's home turf, and winning a Grammy for mixing Jason Isbell's album Something More Than Free (another Sound Emporium project). Ross-Spang was assisted by Rachel Moore; he shares production credits with Beam, Burns and Convertino.
Beam wrote all the songs for In the Reins. He took the lead again here, bringing five songs to the session, but Burns added one of his own in the end too. They took differing approaches; Sam shared meticulous demos ahead of time and was ready with arrangement ideas and instrumental parts, while Joey spontaneous as ever, came in with concepts and an eagerness to improvise. Upon arriving in Nashville, he also penned a tune.
"Life is hard. Awesome. And scary as shit. But it can lift you up if you let it," Sam offers. "These are the things Joey and I write about now. And the title can encapsulate a lot of things. ‘Years to Burn' could mean you're cocky, you've got it made. Or, our life is ours to burn, to be inspired. Or you're burned by life, brutalized. It's an ambiguous title, because life is complicated. Let's not talk like teenagers about love, desire, pain, ‘cause we're not teenagers. And that's not a bad thing."
"This project had to find the right time," Joey concludes. "We're all different people than we were in 2004, and music helps to bridge some of the gaps. For all the things going on in our world and in each of our lives, this connection, this friendship, this love that we have—this album is a vehicle for that bond. It's a chance to see where we're at, take stock and be there for our friends."
Here is a selection of my images from this years Warwick Folk Festival, many of them taken at fringe events around the town, this year as with last year a little dodging of the showers was required.
Fab to see Kristy Gallacher on such sparkling form while the "I Can't Believe It's Not Folk" songs of Elvis contest on the main site was fab.
...The gig at the Magic Lantern last night was described by venue creator & owner Adrian Gains as "one of the best nights we have had so far.
...It all seems such a long time ago, so many & so powerful have the subsequent performances at the Magic Lantern been, that it is an interesting ...
...Looking forward to my visit to that friendliest of festivals Cropredy again next month to take in the great atmosphere, overall vibe and of course a ...
...Ubergine at the 2019 Summer Warwick Beer festival.
...A lively, polished and engaging set of folk and pop with some notable guitar work on Fleetwood Mac's Oh Well.
...By now I'm sure you'll be aware of the many bees in my bonnet as I tend to repeat much the same obsessions in most reviews, so when I ...
...There are a handful of great locally based artists not so much emerging (how can they be just "emerging" when they have spent time honing their ...
...I am a big fan of the performing & writing of Ross Darby so it was a big pleasure to get another chance to review him for this magazine on the ...
...Once again I can write up for you something rather special: two performances which were pretty unique for our area & which again I felt so ...
...Last night was one for the connoisseurs: a whole evening of nothing but top class original music written from personal perspectives & played with ...
...Twice cajoled by my pal Andy Holdcroft to present my experience of Godiva Festival 2019 in a Hot Music Live article, I thought I'd best just get ...
...I should really like first of all to voice my appreciation to the members of both Shanghai Hostage & Brass Hip Flask.
...The Warwick Folk Festival celebrates its 40th anniversary this year with a stella line-up of Folk talent, with an opening night concert on the ...
...The showers meant plenty of time at the indoor Lounge Stage for me, no hardship as the line-up was quality from start to finish, opening with star in ...
...I could, I suppose, run through every act I saw & enjoyed at the 2019 Godiva Festival in detail which would give them the credit they thoroughly ...
...I hope that you recall my review in "Hot Music Live" of Caleb Murray's ‘No Congregation' EP? If you have listened to & ...
...Wow what a night! On a sweltering June evening, maybe going underground was the best option, even though the Magic Lantern had to deploy extra fan ...
...Another cracking evening which saw the grand musical talent of Warwickshire displayed on several levels.
...Only just over a week before Napton brings rock and roll (as well as just about every other musical genre!) to life in the grounds of the Napton ...
...I have reviewed the consummate musicianship of Holly Hewitt & David Page for "Hot Music Live" on several occasions, though it isn't, I ...
...If you are counting, you'll have spotted that the new single "Gone" is the third single to be released from Taylor-Louise's stunning "Black ...
...At a dozen tracks, ‘Ticket To Nowhere', the new album by local singer-songwriter Matty Coles to which I've been listening, provides ...
...This Fathers' Day lark is pretty good and I certainly didn't turn my nose up at a Dad-size bacon butty and a fresh bottle to ...
...Here I go again: another evening spent in the company of really talented musicians who not only perform in a way that touches my soul but objectively ...
...Last week, I had every intention of writing a review in this magazine of the gig I was intending to attend at the Zephyr Lounge by The Ellipsis, ...
...Warwickshire singer song writer Simon Morgan has a long & distinguished pedigree for producing music from the "heart on the sleeve" school of ...
...I do love the headine gigs with the monster sound systems, massive lighting rigs and legendary names - but they're not the whole picture.
...As promised in my review of their performance at Sunday's BBC Introducing Coventry & Warwickshire showcase, what follows is my review of the ...
...A SonicPR promotion .
..."Hot Music Live" tries really hard to do many things.