Gig Diaries – Good Company (February 2026 edition)

I had the perfect solo date night on Valentine’s Day this year, having finally made it to a Good Company Songwriters Round. Set up and starring the inimitable Katy Hurt, I settled down in my usual back row chair at Thornton Hough Village Club for two hours of original music from Emilia Quinn, Tennessee Twin, and Katie Nicholas. It was the ideal blend of punchy and sensitive, as powerhouse vocals from all four brought real emotion. Stories of love and heartbreak the order of the day.

What I love most about my inconspicuous presence at these things is observing the reaction of those for whom these artists are new. To see one chap give an audible gasp as Hurt hit the high notes on ‘The Kiss’ and another nod with a smile to his compatriot as Emilia ended her second round gave me satisfaction that more converts had joined the ranks. As Quinn so passionately stated towards the end of the night, it is places like these and nights such as this that are the backbone of live music. And this was proof that you can find some real gems if you take a punt on a ticket. A fair few even went and bought some merch too.

For my own experience, I found ‘Rosary Beads’ to be the most affecting song of the night. The room held in silence as Quinn, with controlled affection, sung about loss, grief, and identity. In fact, the whole final round appeared to be a saving of the best until last – Tennessee Twin playing one of their most accomplished tracks in ‘When We Move’, while Katy Hurt ended on ‘Unfimished Business’, a personal favourite.

Katie Nicholas, for her part, played a couple of her greatest hits before the interval, having to leave due to illness at half time. But though her presence was missed, the songwriting spirit remained with the rest. And how strong it was. A captivated audience hanging on almost every word, if not enjoying themselves a little too much in the process.

It has taken me a while to get to one of these but, with any luck, and a fabulous next line up to come in May, I will do my damnedest to not miss any more.

This was written after attending the Good Company Songwriters Round on 14th February 2026 at Thornton Hall Village Club on the Wirral. You can check out future dates via Katy Hurt’s website here.

Featured Image (C) Katy Hurt

Gig Diaries – Amelia Coburn

The Kazimier Stockroom was once just that it seems. With a crowd bundled in beneath neon strip-lights and antique odds and ends. The music echoing through the walls from the adjoining public garden is, at first, a worrying distraction. But once Amelia Coburn begins her set (the latest on her UK tour) thankfully, the focus is all on her.

With a trio of stringed instruments at her disposal, and support from her support Robyn Errico on piano, Amelia enveloped her audience in an enchanting hour of Folk. Many of her songs coming from her debut album, ‘Between the Moon and the Milkman’, but there was plenty of opportunity for some new content too. A mix of gently flowing and fast running music that brought to life mostly autobiographical lyrics from almost two decades of songwriting.

The audience, bunched tightly together in this sold-out gig, played their part by attentively listening. The moments of audience interaction adding friendly humour to the evening. Amelia has clearly honed her stage presence, calmly in control of proceedings from start to finish. One or two slip ups were wonderfully laughed off while she wholly appreciated the off-hand comments and clap-along participation towards the end.

It all went by rather pleasantly. A midweek gig with particularly good timings, enabling this North Walian to return home from Liverpool in good time. I left energised by Amelia’s set – simple in its acoustic rendering yet delivered with a vibrancy as colourful as the venue’s lighting – walking back down Seel Street much lighter than when I came.

This was written after Amelia Coburn’s gig at the Kazimier Stockroom in Liverpool on 12th February 2026. Check out Amelia’s future tour dates here.

Featured image (C) Amelia Coburn

Elles Bailey – Can’t Take My Story Away

The word I would use to describe Elles Bailey is consistent. The singer-songwriter from Bristol is so consistently good that the hype surrounding her latest release is no surprise to those who have followed her for years. ‘Can’t Take My Story Away’ may be her most personal yet, but it contains many of the same ingredients that make up a catalogue of music of which the wider media need to catch up. For what seems to them to be a rising star has actually been shining brightly on the independent scene far longer than they realise. This album not the beginning, but a kind of culmination. Traversed hardily and with passion, sacrifice and soul, toward credit long since deserved.

The title track, which opens an hour of songs from her heart, is typically understated in its passion and power. Whether taken metaphorically or literally, the message is one which defies the doubters. Haters are gonna hate, as Swift might say, but like her, Bailey will continue to hold her own. She does so with the support and encouragement of others. ‘Growing Roots’ and ‘Blessed’ two odes to loved ones who keep her both grounded and sane. The former bathed in a glorious mix of funk, blues and pop, whilst the latter soaks in the waters of a stringed ballad.

As is expected on an Elles Bailey album, the tempo and rhythm roll from the uplifting soul, in this instance, of ‘Better Days’, to the percussive reflections of ‘Constant Need to Keep Going’. The latter is perhaps her most Prine-esque piece yet, with tinges of Mary Gauthier in its influence. Lines such as “the sun keeps coming up again / lighting up my fears” demonstrating a poetic touch which leaves a lasting mark. The relatability of her songs more evident here because of the increased vulnerability brought to this project.

Album closers ‘Tightrope’ and ‘Starling’ are the most marked in their openness and intimacy. The former telling a dark truth brought gratefully into the light. The latter riding on the wings of ‘Jordan’, from previous EP ‘The Night Owl and the Lark’. Its key changes suitably heighten the emotion; an invitation to pause and remember. Its imagery of light echoing through her back catalogue to that which was “in the distance” on ‘Road I Call Home’; to ‘Wildfire’, her debut offering. The first step, you might say, to where she finds herself today.

It is this thread that long-time fans of Elles Bailey will delight in. Savouring the fact that the world is finally waking up to what they have always known. She is the epitome of great independent artistry. And while ‘Can’t Take My Story Away’ deserves all the plaudits it is receiving, I can’t help but feel that such praise is overdue.

You can purchase ‘Can’t Take My Story Away’ from her online store here, or stream from wherever you get your music.

Featured Image (C) Elles Bailey

Five Festive Country Tunes for 2025

Christmas has crept up on me this year. So much so that I’ve already missed a fair few singles with an undeniably festive feel. To put that right, I thought I’d do a quick rundown of five tunes with which to fill your musical stocking. Four from the UK, plus a bonus track from one of my favourite artists.

Bobbie-Jo – This Christmas Eve

Let’s start with an absolute banger from Bobbie-Jo. The Welsh artist has fuelled her musical sleigh with guitars aplenty. Powering through a sky of expectation as she awaits the arrival of a loved one with excitement that only Rock can convey. Lines like “No fancy thing or diamond ring will do if it ain’t you” turn from potential cliché to genuine longing thanks to a musicality wrapped in hope-filled joy. The result being a rather infectious song, both lyrically and instrumentally.

ELERI – Wrapped Up in You

ELERI is another Welsh artist unwrapping a festive tune. Except she is no stranger to them, having released an EP a couple of years ago. This would sit quite neatly as a bonus track with its mix of folk-leaning country and gentle pop riffs. Evoking the spirit of Kacey Musgraves’ own seasonal album, this takes a similar theme to her ‘Ribbons and Bows’. Except rather than everything melting away, love becomes embodied in the “red bows and ribbons, red wine [and] mistletoe”. It makes for a delightful romcom-sounding soundtrack.

Jeorgia Rose – a man like you

Jeorgia Rose’ festive offering is not so much romantic as dreamy. In typical tongue-in-cheek fashion, she takes aim at the failings of men by comparing them to the ultimate pin-up; in this case, Santa himself. This is the one person who represents those most desirable of characteristics: hardworking, thoughtful, humble. It is in many ways the companion piece to her previous single ‘My Kinda Man’. With the same undercurrent of country-pop and bursting with lyrical wit. A great addition to her catalogue.

Bronnie – Holiday Road Christmas

Perhaps the most traditional when it comes to the sound of Country, Bronnie’s song is also the most antithetical when it comes to goodwill and cheer. Over a wonderful arrangement of strings, she pulls us into the nightmare of the family dynamic. Using voiceovers and recognisable lyrics to remind us of the downsides of the big day. Drunken uncles and nosy aunties all feature in a hullaballoo where niceties are tested to the limit until, ultimately, “Christmas, you can kiss my arse”. A superb vintage sound that ironically lends itself to the season.

Tenille Townes – Heart of the Holidays

If you want to get truly absorbed in a traditional rendering of Christmas then this is the single for you. Stripped back and with an air of the analogue in its recording, Tenille reflects on love as the definition of the season. With “kindness ringing in the air”, “glistening lights up in the… café”, and “snow in slow motion in the alleyways”, she paints an intimate picture which, in the wrong hands, could prove saccharine. Instead, the warmth of the literal cocoa and metaphorical jazz transport into a world that feels not only possible but real. Tenille once again wearing her heart on her sleeve.

Laura Evans – Out of the Dark

Laura Evans returns with a second album as good as the first. If ‘State of Mind’ was a revelation then ‘Out of the Dark’ cements her reputation. That signature Blues/Rock sound once again echoing from the speakers with anthemic precision.

‘Wherever You Are’ begins an album that is heavy on the beat. Expressing with intent here the raucous river of love that chases us down. There are echoes of ‘River Deep Mountain High’ in its chorus which flood the room with good vibes. One of many moments to get lost in the rhythm of this album. ‘Superman’ has perhaps the most notable kickdrum sound, accenting a narrative that subverts the romantic ideal. No male saviour required here; even as the possibility of love for a “superhero without the ego” remains.

‘ATM’ displays a tasty attitude complemented by a variety of vocal sounds. It follows the insertion of pop elements into ‘Honest’ which supplement well the decisiveness of an electro-led riff. This reflects another layer in Evans’ repertoire that began coming through in her last record ‘What I’m Made Of’. The two bluesier numbers from that EP – namely the title track and ‘Heartbreaker’ – making up the middle pages of this latest album whose second half then flicks back to her Country roots.

‘Just a Little Bit More’ touches at the edges of a modern country ballad. Introducing some lovely bits of piano which then feature more prominently in ‘Always and Forever’. The effect being to ring out like wedding bells the message of a song that reflects the vows made in marriage. This is then underlined in Swiftian fashion. ‘I’ll be the One’ sparkling with the kind of acoustic simplicity of which Taylor would be proud. ‘Out of the Dark’ then offers up as a short companion piece to this most magical of tracks before the album closes with ‘Hear Me Out’. A track built on Southern grit and Welsh persistence.

Just when you think you know where Laura Evans is heading, this singer-songwriter from the Valleys throws a curveball. Her signature blues played upon but not pressed into so much that she loses her original country sound. In fact, she returns to it far more than expected here. Injecting the odd bit of pop to ultimately support the songwriting which has always been her strength. Every track on ‘Out of the Dark’ self-penned in collaboration with another. Bolstering further her growing reputation.

You can purchase ‘Out of the Dark’ from Laura’s official store via her website here. It will be available to listen to on streaming platforms from October 24th 2025.

Featured Image (C) Laura Evans

Evelyn Cornell – Seventeen

Seventeen seems to be a seminal year for country artists. Shay Gaston and Rebecca Hurn have already covered the age in their own way and now Evelyn Cornell offers her perspective. ‘Seventeen’ is her debut single and is just as wonderfully reflective. Nostalgia here coming in the form of

“Garden parties in the yard… /

Driving through the night… /

Country artists sing on the radio”

Young love features, “sweet as strawberry wine”, helping to evoking a typical heady summer. The slow pace of the guitar adding to the longing for a return to those carefree days. Her elongated vocals and deliberate use of pedal steel in the chorus ensuring the scene is perfectly set. It all makes for a lovely introduction to this singer-songwriter from Kent.

Featured Image (C) Evelyn Cornell

Amy-Jo – Friends You Meet Along the Way (Chester)

I am normally passing through Chester to go to gigs. So it was a pleasant surprise to find the first date on Amy-Jo’s new tour within the city itself. Keeping the same title as her last one, ‘Friends You Meet Along the Way’, her two companions for this one were Grace Elizabeth Harvey and Bella Wright. Both brought different facets to the singer-songwriter mould. The former steeped in earthy Folk. The latter influenced by Musical soundtracks. They represent the narrative storytelling that runs through Amy-Jo like a stick of rock. The ideal support acts for her particular brand of Country-Pop.

For anyone who has tuned into her album recording sessions, the stage at The Live Rooms sought to recreate that studio. Dusty pink lighting with a smattering of red and blue protruded onto blackened drapes, providing an intimate backdrop for various instruments and a mic stand blooming with LED flowers. It captured in visual form Amy-Jo’s bright and sensitive temperament. The set which followed a mix of pleasing bass-lined earworms and beautifully reflective ballads. Callum Mangold-Jackson brilliantly bouncing between acoustic, bass, keyboard and kickdrum to amplify a sound stripped of its full production.

One of the advantages of hearing her songs in this way is the emphasis upon elements sometimes masked in the final edit. Those soulful vocals became evident in ‘Shoulder Pads’. There was some luscious RnB poured out onto ‘Take the Backseat’. A touch of Lainey Wilson (one of her country music idols) lined ‘Hypocrite’. Her versatility is stronger now than ever. Matched by a quiet confidence which sees her slip from a clearly emotional performance of ‘I’d Fill You In’ to a measured rendition of ‘February 14th’. ‘Cascade’ follows, showcasing her musical progression, with a deceptively gentle guitar playing against an incessantly juicy beat. One of a number of new songs from her upcoming album which seem to push for the latter without compromising on the lyrical quality she is known for.

Twelve months on from when I last saw her live, I felt like I was witnessing a more refined performer. Someone who, in the process of making her debut record, has solidified the best parts of herself while chasing down the next level of finesse. She does so with such joy and grace that one can’t help but be caught up in the excitement of her journey. And it’s partly through coming to these ‘lesser’ places that fans outside of the major cities become real champions of the cause.

You can catch Amy-Jo along with a host of other ‘Friends’ at the venues below. Visit her website for tickets.

Caitlin Mae – Your Truck

Caitlin Mae has become well and truly versed in the sounds of Nashville. Her latest single ‘Your Truck’ is straight down the middle country at its modern best. A chorus fit for the dancefloor as pop mixes with banjo and pedal steel. It belies a narrative of nostalgia which transplants a Miss Havisham protagonist into an F-150 pick-up truck. Its driver long since moved on while she reels from “our last conversation… goodbye, good luck”. Not the first-time that the man in her song has upped and left, but there is a greater sense of unresolved heartbreak here. The bridge offering some form of acceptance – “you wanted safe / I was a flight risk to you” – without ever being tied to a neat ending. Caitlin leaving the listener hanging somewhere between ‘Mr Moving On’ and ‘House Sitting’. Two singles that would fit nicely with this one (on an upcoming EP perhaps?).

Featured Image (C) Caitlin Mae

Rosey Cale – Coffee Cup

The tears shed by Rosey Cale in the composition of her latest single have been transformed into the most poignant ballad. ‘Coffee Cup’ distils so eloquently her experience of a break-up into lines which ache with hurt and wonder. The solemnity of the piano adds to a painful reflection on gaslighting and deceit. The two-timing guy so rightly criticised while the girl he chose instead receives a strange sympathy. There are moments when it feels like the soundtrack to a musical such is the emotional outpouring in her deft vocals. Revealing the strength of a narrative that shatters the dream of what could have been. After the joyful aroma of ‘Blue Skies, Tan Lines’, this leaves a bittersweet taste. Rosey performing one of her punchiest songs yet.

Featured Image (C) Abbi Laur Photography

Ellie Marie – Don’t Take It to Heart

Without denying a pop sensibility, Ellie Marie emphasises the traditional sounds of country on her latest EP ‘Don’t Take It to Heart’. The Bristolian Cowgirl, as she’s aptly named, layers all four tracks with a luscious pedal steel, drawing inspiration from the American South more than most UK artists. The effect conjures up an image of a honky-tonk bar in opener ‘Rock Bottom’, and a Downtown Nashville atmosphere on the title song. There is plenty of energy in the latter, blasting into life after a light acoustic intro, reflecting a no-cares attitude with plenty of ‘Shake It Off’ sentiment. The Swiftian influence is keenly felt, both in themes of love and heartbreak as well as lyrical loveliness and sass. “Loving you is what I’m living for” goes deep (‘Living For’), while “Maybe you think I’m out of line / it’s true” speaks of assurance and self-belief (‘Without You’). There is no denying that Ellie Marie is a force to be reckoned with. And with this new EP, it looks like a bright future ahead.

Featured Image (C) Ellie Marie