When I think of classic “country-and-western” music I think of a song like this – a jaunty rhythm, the twang of a steel guitar, a catch in the voice, and a lyric filled with heartbreak (and a hint of humour).

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John Bramwell: The Cluny, Newcastle – Live Review

Britain’s finest musical wordsmith winds up his extensive UK tour with a gig of two halves: dark songs of drinking and disaster from his time with I Am Kloot and harmony-drenched songs of happiness and hope from his solo repertoire.

The Streets came out of nowhere, creating kitchen sink dramas of life as a young working-class man in the UK at the turn of the millennium.

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I’ve liked Goat Girl ever since they emerged punkishly from the DiY scene at The Windmill nearly a decade ago. Their latest doesn’t disappoint.

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Postpunk sextet Deadletter have been building up a fervent live following for some time. Today they preview their debut album with this song, Mother. (more…)

Harry Chapin is someone I vaguely recall in the same MoR mould as John Denver and Jim Croce, making sentimental string-laden songs with sermonising social messages. Which is true. But I do him a disservice.

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In 2000 I was flown to Paris (business class) and plied with food and drink at the beautiful Hotel Costes just to interview an unknown French bloke called Mirwais.

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I first heard his name when Gerry Rafferty released Baker Street. Everyone knew who played that sax solo. Almost as many knew that the same guy played the two sax solos on Bowie’s Young Americans.

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Linval Thompson is a seminal figure in the creation, spread and influence of dancehall reggae. He’s also a sweet singer and a prominent producer with a string of roots albums and dub versions.

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Do You Believe In The Westworld is an epic with its thunderous tribal drums, the mighty clang of that guitar riff, the slightly sinister sax and the dubwise echo that matches the cinematic sweep of Kirk Brandon’s mini-Western in words, carried by his stentorian vocals.

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