Album & Live Reviews

This was Joanne’s first gig of the year and it was a pleasure to welcome her to Edinburgh at the start of a short run of dates on a ‘provincial’ tour. The Queen’s Hall was decked out in fairly simple fashion, with the floor seated, a minimal stage set-up and plain curtains at the back, which definitely did not match the on-stage carpet on which Joanne played. There was plenty of space for the four-piece band backing the main lady herself, who was dressed in a fabulous flared trouser suit for the occasion. Ironically, had she been “home” in Nashville, she might have needed a woolly jumper, as I believe it has been snowing there this week – a highly unusual event. Since Joanne last played here three years ago, she has released two full-length albums, so there was plenty of recent goodness to share, including ‘Hell of a Good Time’ early in the set. As ever, Joanne’s smoky vocals were as much of a feature as her incredible guitar skills, and wouldn’t it be great to hear JST having a smoke-off with Elles Bailey on a duet? Behind Joanne, the marvellous Katelynn Corll added exquisite backing vocals to her excellent drumming and really contributed something special to the occasion. As usual, Joanne let the music do most of the talking, and the arrangements and guitar playing were very eloquent indeed. When she did chat between songs, the likeable Midlander shared some amusing stories about her dog Hank, Harry Potter and her secret crush, Kevin Costner. Memorably, her excellent cover of ‘Two Time My Loving’ by The Fabulous Thunderbirds came with a disclaimer that Joanne does not endorse cheating! The set list was primarily drawn from Joanne’s own work, which includes a smattering of some other people’s songs that she has already put her stamp on. Gershwin’s ‘Summertime’ dates back to Porgy and Bess in 1935 and according to The Jazz Society, there have been over one thousand recorded versions of this tune, although other online estimates are considerably higher. I am sure folks from the 1930s would appreciate Joanne’s vocal interpretation but I think her guitar playing would blow their freaking minds. As a boomer, I used to associate ‘Wild is the Wind’ with David Bowie, but his was just one of many covers of that song, dating back to Johnny Mathis. I suspect Ella Fitzgerald’s take will have been Joanne’s favourite version, but for me, the intricate song really brings the best out of Joanne’s voice and her quite exquisite rendition on her ‘Reckless Heart’ album is the new gold standard. Having listened in quiet appreciation, many in the crowd fell for the false ending and erupted into applause, before Katelynn’s authoritative short drum burst heralded the blistering guitar denouement that put the cherry on the cake. As always, Joanne’s performance was outstanding. By doing it the old-fashioned way through recording and touring, Joanne has developed a loyal and discerning following who appreciate her work. In the corridor, I heard one individual deliver a slightly crass, cack-handed compliment, describing the main lady as “like Bonamassa with breasts”. I’m sure he meant well and was primarily referring to the quality of her playing, but as a friend and collaborator of Joe’s and a lady who does not overtly use her femininity and beauty to promote her talent, I doubt if Joanne would really welcome the comparison. At the start of the evening, Essex lad Connor Selby was the opening act – the third time he has done the honours for Joanne, although once again, it was as a solo act, accompanied only by a small amp and his own happy, tappy feet. He comes with an increasing reputation, as he was voted "Young Artist of the Year" at the UK Blues Awards in three consecutive years between 2020 and 2022, before graduating to win a “big boy now” trophy with the 2025 "Traditional Blues Artist of the Year" award. The subject of his song titles tended to fit the “modern blues” template. The opener ‘Falling in Love with You’ sounded potentially romantic, although Connor didn’t seem all that thrilled about it. He then introduced ‘All Out of Luck’ as being “about my current situation”, which drew some sympathetic “aawws” from the mothers in the audience. There was a “countrified heartbreak” song, plus the excellent ‘The Truth Comes Out Eventually’, which is the title of his latest album, before it all wrapped up with the comparatively upbeat and undeniably excellent ‘Someone’. Clearly an outstanding performer, and already a favourite with some Rockfiend colleagues, I will hope to see Connor in a band context at some point. Postscript; Although in fine form in this gig, apparently Joanne was subsequently laid low with a chest cold which impacted some dates and caused the cancellation of others. Best wishes for a speedy recovery.

Solomon Hicks’ ‘How Did I Ever Get This Blue?’ is really a work of fascinating contradictions. Despite the clue in the title an album cover that could be mistaken for that of an old master, 30 year old Hicks seems to be forging forward whilst looking back, at times reverential to traditional blues, at others ripping up the rule book entirely. A guitarist who has been gracing stages since the age of 13, his years of experience feed into an album that balances the familiarity of classics like Bobby Bland’s ‘Further on up the Road’ and Chuck Berry’s ‘Memphis, Tennessee’ with unlikely reworkings of modern pop classics by Bruno Mars and Adele; choices that feel intentionally controversial, and might upset the purists, but are all the more interesting as a result. Adele’s ‘Rumour Has It’ is transformed into something almost feral, Joanna Connor’s slide guitar lending a gloriously unhinged feel to a song that always deserved this much attitude. The insistent drum beat adds to the frenzied atmosphere that works so well. Hicks is a master of moods, whether conjuring gentle melancholy with his plaintive guitar work on ‘All Your Loving (I Miss Loving)’, or injecting soul into a majestic ‘Feels Like Rain’ with his impassioned vocal. It’s something he does very well in his original work too, ‘I’m Burnin’ Up’ is an assured slice of streetwise funk set to a hip hop beat, a striking contrast to the title track. The latter is appropriately sad, aching with yearning, an elegant blues ballad that feels like it must have been around for many years. Elsewhere, ‘Dimples’ is given a swinging update that is utterly joyful, the bass doubling beautifully with guitar for the distinctive lick. Paul Butterfield’s ‘Driftin’ and Driftin’ is somewhat darker, almost sinister, as the menacing riff keeps slinking back for more. Hicks has stated that he wants “to shock people” and I’d say it’s job done, in the best possible way. ‘How Did I Ever Get This Blue?’ is out now.

The unassuming village of Wingham isn’t necessarily somewhere you’d consider as a hotspot for live music. Perhaps that’s why the turnout at the Anchor is so disappointing this evening, the void space in front of the stage surely not a sight any band yearns for. But Leadfeather don’t let it bother them, joking that sometimes they play to 300 people, sometimes 500, but that “this feels right”. If you’re unfamiliar with the London based quartet, one look at their open shirts, flared jeans and (mostly!) long hair gives some indication of what to expect. Musically, they’re as Zeppelin as it gets, and I mean that as the greatest compliment. But vocally, Apostolos L has more in common with David Coverdale at his full throated best, even throwing in the odd swooning “oh baby” for good measure. His voice erupts with startling power on opener ‘Danger Zone’ and doesn’t let up thereafter. Blessed with a look as strong as his voice, he’s a proper, old-school, tambourine shaking frontman, complemented beautifully by guitarist and founder Simon Hurts. With just one EP to their name at the moment, we’re treated to stellar renditions of all 6 tracks during Leadfeather’s set. ‘Roll the Dice’ is worthy of special mention, one of the finest rock songs of 2025, nodding to the aforementioned Zeppelin but also to Deep Purple with a lovely bit of call and response between L and Hurts, the former’s vocalisations being met with squeals of guitar from the latter. ‘Shoot for the Stars’ sounds equally colossal, grooving like a beast thanks to some particularly funky lines from bassist Wilson Zaidan. A decent helping of new material slots in nicely; ‘Wild Child’ is particularly memorable, not just because Hurts switches out his Les Paul for a 12-string (also adorned with trademark feather!) but because Thanos’ drumming is very reminiscent of a certain Mr. Bonham, never going quite where you expect. Unapologetically retro, there are several references to the greats, riffs from Hendrix and Sabbath sneaking their way into proceedings. In terms of influences, these lads have chosen all the best ones - what’s not to love? Headliners Greyfox Conspiracy certainly have a striking look; Decked all in black, there seems to be a loose uniform of boots and chains, a military jacket here, a waistcoat there. Centre stage, charismatic leader Greyfox Growl (aka Rob Cooksley) makes an immediate impression, eyeballing members of the audience and pointing his finger as the band tear into the fast-paced ‘Freight Train’. And they’re loud, really loud, the heavy thump of Darren Richards’ Rickenbacker bass giving some serious oomph to proceedings. Cooksley jests that the collective age of the band is about 360… I’m assuming that’s an exaggeration, but by how much, I can only guess! Despite their advancing years, they’re a fairly new band, debut album ‘Preacherman’ released just last month. We get to hear most (all?) of it tonight, and the emphasis is on no-nonsense hard rock with easy to remember choruses that can be picked up quickly. ‘Twist of Fate’ is pleasingly reminiscent of AC/DC with its stomping riff, ‘Crazy Horse’ gloriously unhinged with Cooksley’s wild vocal. Their set is a lot of fun, Cooksley disappearing at the start of ‘Preacherman’, returning with a bible in hand, and venturing into the audience to dish out blessings, placing his hand upon various heads (not mine, he takes a look and shakes his head, I’m clearly a lost cause!). The song itself is wonderfully dynamic, Cooksley’s snarl of a vocal alternating with a thundering guitar assault in the opening verse. A riotous ‘Fire and Gasoline’ seems familiar, but that’s because it’s a song written by Cooksley when he was part of Sons of Liberty. He says that Greyfox do it better, and it’s hard to argue. It’s a great song with an irresistible hook, delivered here with energy and style. At just £11 a ticket, it’s baffling to me that this event isn’t sold out. I’d happily pay quite a lot more to see either band again. Get both bands on your playlist and turn up the volume, there’s great new music out there if you know where to look. Leadfeather Setlist Danger Zone/Queen of the Night/Silvertrain/Silver & Feathers/Higher/Roll the Dice/Why/The Answer/Wild Child/Shoot for the Stars/Troubled Man Greyfox Conspiracy Setlist Freight Train/I’ve Got Your Back/Renegade/Lord Have Mercy/Branded Man/Twist of Fate/Fire and Gasoline/Time Will Tell/Preacherman/Crazy Horse/Into the Great Unknown

Elles Bailey has never been an artist to stand still. Across her five albums of original material, she has steadily refined her songwriting voice, broadened her sonic palette, and deepened the emotional honesty at the heart of her work. But with “Can’t Take My Story Away” she steps into a new realm entirely: one shaped by resilience, self-possession and a refusal to let anyone else define her narrative. Three years in the making, the album emerged from an intriguing creative crossroads. Bailey initially approached producer Luke Potashnick with the intention of making a straight-up rock record. Potashnick, however, envisioned something more nuanced, and together they crafted a project that balances power with vulnerability, swagger with introspection. Their collaboration unfolded while Bailey was simultaneously working on her 2024 chart-topping album “Beneath The Neon Glow”, creating a fertile period of artistic cross-pollination. The result is a record that feels both expansive and intimate, polished yet deeply human. Potashnick’s production is sumptuous without being overbearing: every instrument has room to breathe, every vocal line sits in a space that feels intentional. The album has clarity and openness, offering a listening experience that holds its richness whether blasted through speakers or played quietly in the small hours. Opening with a confident swing, the title track has horns punctuating the rhythm with a brightness that immediately lifts the mood. It’s a bold, positive introduction: one that sets the tone for the record’s overarching message of self-ownership. The lyric leans into the idea that no matter what life throws at you, your story remains yours to shape. Additional writing contributions from Dan Bettridge help give the track its emotional clarity and melodic strength. A soulful, classic R&B-infused number, ‘Growing Roots’ feels warm and lived-in. The backing vocals offer call-and-response moments that enrich the groove, while the guitar work: played with understated finesse: adds a subtle sparkle. The song has been out for a while as Bailey’s album teaser and has received positive responses from radio making Radio 2’s A list. Originally recorded for a charity tribute album honouring songwriter Matt Long (Catfish), ‘Better Days’ returns here in a refreshed, gently bluesy form. Bailey secured permission from Long’s parents to rework the track, and the result is tender yet uplifting. The short guitar break keeps the song buoyant, while the lyric encourages looking forward rather than dwelling on past pain. Its pop crossover sensibility makes it one of the album’s most accessible moments. ‘Blessed’ is a standout ballad: lush, heartfelt and beautifully arranged. Delicate strings and keys take centre stage adding emotional weight without tipping into sentimentality., Nina Harries double bass grounding the track in warmth. Co-written with Ashton Tucker, the song explores gratitude and the quiet strength found in being loved for who you truly are. Bailey steps into Americana territory on ‘Constant Need To Keep Going.’ The production evokes endless highways and wide-open skies: Ethan Johns fuzz guitars echo in the distance, drums mimic the steady roll of train wheels. The lyric captures the restless drive to push forward even when you’re not entirely sure why: “There’s a constant need to keep going, and I don’t know where to go,” Bailey sings, her voice carrying both weariness and determination. It’s a track that feels cinematic, almost dust covered. A burst of funky blues energy, ‘Take A Step Back’ sees the rhythm section of Jeremy Stacey (drums) and Nigel Harries (bass) bringing a butt jiggling swagger to the track. Horns return to the foreground, adding a vintage soul flavour reminiscent of 1960s Memphis and Motown sessions. The guitar work nods to classic players of that era too: tasteful, rhythmic, and full of character. It’s one of the album’s most danceable tracks, and a reminder of Bailey’s ability to blend genres with ease. ‘How Do You Do It’ brings Bailey back to her blues roots, but with a playful twist. A touch of honky-tonk piano gives it a barroom charm, and the vocal delivery carries a wink of mischief. It’s a shorter, punchier moment on the record, offering a breather between the more emotionally heavy songs. Defying expectations for a song titled ‘Angel,’ this is no soft-focus ballad. Instead, it’s an upbeat R&B-tinged blues number co-written with Aaron Lee Tasjan. The lyric centres on being present for someone when they need support: “It’s only at night we see the angel,” Bailey sings, hinting at the quiet ways people show up for each other. The horns and rhythm section give the track a radiant glow. A gentle, piano-led ballad, ‘Dandelions’ is delicate without being fragile. Subtle drums, soft guitar lines and a whisper of organ create a tender backdrop for Bailey’s vocal. Co-written with Tamara Stewart, the song feels like a moment of stillness: a breath taken in the middle of life’s chaos. ‘Tightrope’ follows naturally from ‘Dandelions,’ continuing the introspective mood. Co-written with Blaine Harrison (Mystery Jets) and Henry Grace, the track balances vulnerability with poise. The arrangement is understated, allowing the lyric’s emotional tension to shine through. It’s a song about navigating uncertainty, about learning to trust your footing even when the ground feels unsteady. The album’s emotional apex. ’Starling’ begins with a stark pairing of Bailey’s voice and piano, her vocal almost a murmur. As the song unfolds, strings and organ drift in, drums rumble like distant thunder, and backing vocals swell. The track builds and builds until Bailey’s voice rises to full power: raw, commanding, and utterly arresting. It’s a masterclass in dynamic storytelling, and Potashnick’s production is at its most cinematic here. The credits reveal a rich ensemble behind the scenes, including string players Laura Anstee, Emma Sheppard and Rebekah Allen, whose contributions help elevate the track’s emotional intensity. The production by Luke Potashnick is one of the album’s defining strengths. His ability to create space; letting instruments breathe, allowing Bailey’s vocals to sit naturally in the mix; gives the record an open, immersive quality. Whether played loud or quietly late at night, the album retains its richness and clarity. The writing credits reflect a collaborative spirit: Bailey and Potashnick co-wrote the majority of the tracks, with select contributions from Dan Bettridge, Ashton Tucker, Aaron Lee Tasjan, Blaine Harrison, Henry Grace, Tamara Stewart and Matthew Long. This blend of voices enriches the album without diluting Bailey’s artistic identity. Lyrically, the record carries a wisdom earned through lived experience. These aren’t blues clichés about heartbreak for heartbreak’s sake; they’re reflections on growth, resilience, connection and self-worth. Bailey has always been a storyteller, but here she digs deeper, unafraid to expose the tender parts of her journey. “Can’t Take My Story Away” is more than a collection of songs: it’s a statement of identity. It captures Elles Bailey at a creative peak, blending genres with confidence and delivering performances that feel both technically assured and emotionally resonant. The album’s themes of self-determination and personal truth resonate strongly, and the musical artistry: from the horn arrangements to the string sections to Bailey’s unmistakable voice makes it a joy to revisit. A richly detailed, emotionally intelligent and musically expansive triumph, “Can’t Take My Story Away” confirms Elles Bailey as one of the UK’s most compelling contemporary roots artists. Drawing on blues, soul, Americana and classic R&B, the album feels like a culmination of everything she has built since “Wildfire”: but with a new depth, confidence and creative boldness. With this release, Bailey not only cements her place among the UK’s most compelling roots artists but also delivers a contender for album of the year: one that will linger long after the final notes fade.

Depending on your definition of the word "Punk", you'd be hard pressed to find another group with a claim on being the first of that particular genre than the Ramones. Formed in Forest Hills, Queens, New York, in 1974, they were always overflowing with originality, identity, attitude, and energy. Place all that alongside wonderfully eccentric, punchy songs, and an image to match, and it was a very heady mix indeed. The original line-up was Tommy, Johnny, Joey and Dee Dee (you know that, anyway) In all honesty, some of the Ramones songs would be considered outrageous by some, even today. From that alone, we can imagine the cultural impact they had unleashing those songs on the planet from the mid-1970's. Accolades arrived, too; placed in the top 30 artists of all time by Rolling Stone Magazine, inducted into the Rock and Roll Hall of Fame (at the earliest point possible), and also a Grammy lifetime achievement award. Their longest standing Drummer, Marky Ramone, is on long-awaited trip to the UK at present, and his first stop is The Dome, London. He's chosen three fine fellow musicians to play the Ramones classics with him, namely Inaki "Pela" Urbizo (Vocals), Martin Sauan (Bass), and Marcelo Gallo (Guitar). They play the songs with energy and honesty, without ever veering into cliche. The evening starts in admirably frenetic fashion, with "Do You Wanna Dance?", "Havana Affair", "Teenage Labotomy", "Commando", and "Beat On The Brat" rifled off in no time at all. Very little between song patter either, and it's clear they are going to try and get through as much as they can this evening. I'm reminded how deftly the Ramones were with melody, and very inventive choruses. I've always thought that the overall melange of their songs is so interesting. In a lot of respects, they were very underrated. More importantly, though, discerning rock fans have always taken to them and given them their proper credit. "We're A Happy Family", "Let's Dance", "Surfin' Bird" and "Rockaway Beach" are some of the standouts during the mid section of the set, and it's astonishing that over 15 songs have been played, and it transpires that were are only just approaching halfway through the set. Just like the old days..... Ramones never shied away from playing covers, with a few thrown in this evening. A great version of "Have You Ever Seen The Rain?" is played this evening, with the set closing out with "Pinhead", "Cretin Hop", "Rock n' Roll High School" and "R.A.M.O.N.E.S" (by Motorhead). Such a great way to end, also considering their strong friendship with each other. After a fairly long wait, the group return for an encore consisting (unsurprisingly) of several songs. "Kill That Girl", fires out frenetically, with another cover ("What A Wonderful World"). When you hear that song, you all of a sudden can't imagine it any other way. Ramones always shook a cover song to it's core. "Blitzkrieg Bop" is the finale this evening, and what a finale too. Marky and his group are representing the legacy of the Ramones very admirably, and you could tell from the crowd that they are cherishing a chance to hear the songs of a much-loved, innovative and never-repeated group. "We're A Happy Family"......

It was a very cold and windy with torrential rain Thursday night, but that didn’t stop the rock hardcore coming out on a school night! On what was a rescheduled UK tour for Midnite City, after front man Rob Wylde broke his ribs late last year, support was from Nasty Ratz who travelled from the Czech Republic for these dates. Nasty Rats opened up their set with a Bigtop Circus intro before the band kicking in with a heavy, but melodic “Welcome to the circus”. The band had good stage presence, and vocalist Jake Widow using his gloves with green laser beams to maximum effect at certain parts of songs. The venue seemed to gradually fill up during the set, with the crowd enjoying what they saw and heard – catchy choruses and great guitar solos , and participating in the song “Stay Lazy”. The crowd were warmed up and ready for Midnite City. Overall Nasty Ratz were well received on their first visit to Yardbirds, Grimsby, and I'm sure they will be back in the future. Nasty Ratz are: Vocals – Jake Widow Guitar & Backing Vocals – Matt Viperi Bass & Backing Vocals – Xriss String Drums & Backing Vocals – Randy Dee SETLIST Intro – Circus The Waste Against the world Poetic Justice Angel in me Watch your back Demons Price of love Set you free Lets drive Stay lazy Beat the bullet -------------------------------------------------------------------- Midnite City are out to promote their recent album “Bite the bullet”, which was released in November. They had a new setlist covering songs from all five albums, and will be celebrating ten years together at the end of the year. Opening up their set with “Live like ya mean it” soon got the fanbase singing every word along with Rob, who is still recovering from his freak accident. A great sound from the 80s style “Hair Metallists” was well received, with Ryan's thunderous drums and Tabbies bass, keeping the beat tight, with Shawn's keyboards giving a fuller sound for Miles to do his nifty guitar work. During “Atomic” Rob had everyone raising their fists in the air at the beginning of the chorus, with one fan even coming all the way from Japan! Later in the set Shawn played a great keyboard based track with the rest of the band, whilst Rob went off stage, re-emerging for “Seeing is believing” where the fanbase swayed along to the slow melody with their phone torches lighting up the floor. Midnite City never fail to put on a great show, and you can catch them again over the summer when they go out on a co headline tour with Sisters Doll from Australia. Midnite City are: Rob Wylde – Vocals Miles Meakin – Guitar Josh “Tabbie” Williams – Bass & backing vocals Shawn Charvette – Keyboards & backing vocals Ryan Briggs - Drums SETLIST Live like ya mean it Someday Heaven in this hell Lethal dose of love Hardest heart to break No one wins Girls gone wild Atomic Summer of our lives Vampires Worth fighting for When the summer ends Archer’s song Seeing is believing Give me love We belong

It was doors at 5:30 in Glasgow, so a bit of a dash to get there in time. Fortunately, Charlotte Wessels and her band came on over an hour after the doors opened, so there was plenty of time to assemble a sizeable crowd to welcome the Netherland’s songstress back to Scotland and she had clearly retained a lot of goodwill from her previous visits to the city fronting Delain. We have not heard that much from Charlotte as a solo artist, although she has been prolific on Patreon and released the slightly ethereal ‘Tales from Six Feet Under’ albums a few years ago. With the recent release of ‘The Obsession’, she has brought the heavy back in collaboration with some former Delain band-mates and she appears to have hit a sweet spot, blending some atmospheric symphonic-lite offerings with a harder edge that packs a muscular punch at times. The ballad ‘Crying Room’ featured an emotional guitar solo by Timo Somers, while ‘Soft Revolution’ featured some marvellous harmonies between Charlotte and her keyboard player. As well as songs from ‘The Obsession,’ there are some even newer numbers, of which ‘After Us, the Flood’ was a highlight – the cinematic video for this new song is well worth checking out. The set concluded with the powerful ‘The Exorcism’ during which Charlotte got so much into the “grunting” segment that she had a “wardrobe malfunction” and her top had to come off, although fortunately, her under-garments ensured her dignity was not unduly comprised. It was a triumphant return to Scotland for Charlotte and it will be very interesting to hear further new music in the same vein. Epica have a strong pedigree in symphonic rock and some of their continental shows with orchestral backing look absolutely phenomenal. With last year’s album ‘Aspiral’, the band re-imagined and renovated their approach with a slightly more direct contemporary metal sound and that was reflected in the first few numbers. The visuals are different too, most noticeably with Simone Simons, who started in the shadows looking reminiscent of a Scottish Widows advert, before divesting the robes to reveal a new black-clad leather approach and futuristic glasses. The band’s visuals were excellent throughout, featuring very effective use of a giant video-screen backdrop and HD ribbon-strips at the front. An interesting and distinctive intro video segment set the scene and included a request for the audience to ‘stay in the moment’ and refrain from phone usage. Needless to say, that did not deter the usual phone-wankers, but I doubt if their footage was useful, as the band performed in the dark for most of the night, often in silhouette against the bright screen lights. ‘Never Enough’ made a welcome return to the set and Charlotte Wessels was another welcome returnee when she popped up to duet on ‘Sirens – of Blood and Water’. Simone donned an evening dress for one vocal showcase and the band really stretched out their symphonic chops on the snappily-titled epic ‘The Grand Saga of Existence – A New Age Dawns, Part IX’. Epica certainly went down well with the moshers and crowd-surfers and everyone else, and the band definitely added something a bit different to their previous performances in this city. The down-side of having such an elaborate stage set in use for the first part of a co-headline bill was that it took a very long time to dismantle Epica’s rig and assemble Amaranthe’s more modest, but still impressive, stage set-up, so there was some loss of momentum going into the final set of the evening. Amaranthe hit the stage hard with an onslaught of their trademark danceable modern metal music. With three front-line singers incorporating female lead and both clean and harsh male vocals, the band delivered a lively, crunching and syncopated wall of sound. Elize Ryd has been a constant in the band, and it is usually her who brings a bit of colour to proceedings, but even she was black-clad and intense this time. Highlights included ‘Viral’ and ‘PvP’ which is a song commissioned for the Swedish E-sports team, and a new song called ‘Chaos Theory’ which had a very nice bounce to it. The moshers and crowd-surfers tried hard to keep up but it was a ferocious onslaught that only ended after five hours in the hall, which is a big ask on a school night. It was quite a show though.

On Friday, 23rd January 2026, Elles Bailey made a stop at Assai Records, 1 Grindlay Street, Edinburgh, as part of her whirlwind tour to promote her new album, “Can't Take My Story Away.” The store was packed with eager fans, all anticipating her arrival. When Elles appeared on the makeshift stage, she exuded a relaxed and confident presence. Elles kicked off the performance with the title track from her latest release. Accompanied by Demi Marriner, who provided guitar and backing vocals, the song’s stripped-back arrangement was well received by the audience. However, it was apparent that Elles’s voice was huskier than usual. After the opening number, Elles addressed the audience, apologising for her limited upper register due to a lingering cold affecting her sinuses and voice. She sipped hot tea between songs in an effort to soothe her throat. Elles shared the story behind her single ‘Growing Roots,’ explaining why she always considers it a number two song rather than something to hold back for the encore. Despite her cold Elles delivery was first class and she even managed to encourage a lively singalong from the crowd. Next was ‘Constant Need To Keep Going.’ Although her illness impacted her vocals, Elles’s dedication shone through as she gave her all to the performance, earning enthusiastic applause from the appreciative audience. The show then shifted to a more emotional tone with two deeply personal tracks. ‘Better Days’ was written by Matt Long, formerly of the band Catfish, who rose through the ranks of blues music alongside Elles. Sadly, Matt was diagnosed with an aggressive cancer in 2023; despite the blues community raising over £100,000 for treatment after the NHS could no longer provide care, he passed away in October 2024. Elles originally recorded ‘Better Days’ for a charity album supporting Music Minds Matter. Later, with permission from Matt’s parents, she included a new version on her own album. After sharing this poignant backstory, Elles and Demi delivered a heartfelt rendition that moved the crowd. The next song, ‘Tightrope,’ was another emotionally charged moment. Co-written by Elles, Blaine Harrison, Henry Grace, and album producer Luke Potashnick, the song reflects on a difficult period in Elles’s life marked by mental health struggles. She spoke candidly about the song’s inspiration and encouraged anyone facing mental health challenges to seek support. Despite her cold, Elles and Demi closed the set with an energetic performance of ‘Take A Step Back.’ Applause and cheers erupted before the last notes faded, echoing out into the Edinburgh streets. Elles responded warmly to the audience’s affection, sending hearts their way. After the show, fans enjoyed a meet and greet, collecting CDs of Elles’s new album, which were included with admission, and getting them signed along with the obligatory photos with Elles, can’t call the selfies as the pictures were taken by a member of Assai staff using each person’s phone. There was also an opportunity to purchase a special NFT music laminate featuring the album along with bonus material (eleven additional tracks), with all proceeds going to Music Minds Matter. The evening was a resounding success, leaving attendees smiling as they departed into the damp Edinburgh evening. Despite battling a cold, Elles’s voice held up, and the stripped-back arrangements highlighted both her talent and Demi Marriner’s exceptional guitar work. Elles will return to Scotland on 25th March, headlining St. Luke’s in Glasgow with an eight-piece band including a horn section. A show not to be missed for fans of outstanding live music.

Wow! This album is really a Bullet Train, but not to nowhere, it takes me straight to '92, I close my eyes and I can feel the same vibe and energy I did back in those days, what a fantastic follow up to that masterpiece that On Target was. I listened on a loop since I bought it, since the opening track, (a cry of victory from the depths of the mighty David Reece, the mastermind behind this amazing project, he's fresh, creative, hard working artist, don't lose one bit of what made him great 40 plus years ago), to the following songs loaded with fantastic riffs, melody and the distinctive sound of the On Target album, songs are catchy, you can help but repeat them in your head all day long!!! The greatest achievement of this album is delivering a TRUE follow up of a gem from the past, many others promised that but mostly fail, many empty promises that disappointed fans, but Mr. Reece is ON POINT, as usual, and for those who don't know Bangalore Choir don't you think for a moment that only this album is a banger, the rest of their catalog is simply fantastic. Target album, songs are catchy, you can help but repeat them in your head all day long!!! The greatest achievement of this album is delivering a TRUE follow up of a gem from the past, many others promised that but mostly fail, many empty promises that disappointed fans, but Mr. Reece is ON POINT, as usual, and for those who don't know Bangalore Choir don't you think for a moment that only this album is a banger, the rest of their catalog is simply fantastic. Sailing through Driver's Seat, Swimming with the Sharks, Prisoner, Trouble with the Truth, my ABSOLUTE favorites, the rest are brilliant as well, there's no fillers here, Reece and his crew takes the time to prepare one hell of a disc, with no flaws, solid and powerful, yes! He's STILL THE SAME!