The Goudies – Hold On Honey

Listen to the debut album from The Goudies and it’s no wonder they are in demand. Supporting the likes of Tenille Townes and Amy Wadge, they are the perfect accompaniment to those most exquisite of storytellers. ‘Hold on Honey’ is dripping with wisdom. Ten songs that may be simple in their musical rendering but invite deep reflection lyrically. It is almost too sweet a record to consume in one sitting.

The first line of the opening track is enough to catch one’s attention. “Hurt people hurt people” is not only aurally interesting but neatly sums up the song’s subject matter. Through the lightest of acoustic touches, Sam and Beth explore a response to pain that is both honest and countercultural. The call to a transcendental love as that which breaks the chain both surprising and challenging. It certainly gives pause for thought. The first of many moments where a line or idea is sung and then sits in the mind.

The title track is another such instance. In which traffic lights act as a metaphor for life’s opportunities and circumstances. They say “there’s something good in taking it slow” and one knows that they are speaking from experience. The electro-percussive charge that accompanies the lyrics injecting a positivity that points to the value of waiting. In an age of consumption, immediacy and hype, this feels like an important insight.

‘Where We Belong’ is another that echoes with lessons from their past. Now based in Wales, the couple have previously lived in America and spent time roaming in a camper. And while, like ‘Kilimanjaro’, it references a sense of place, in context, it contrasts the notion of belonging with presence. In other words, it is not the where but the who (“with you”) that is key. Similarly, ‘Maggie’s Prayers’, on which Sam makes a rare lead vocal appearance, signals the importance of relationship. It is a beautiful ode, suitably upbeat, with plenty of heart and soul.

It’s hard not to get lost in their sound as the album progresses. ‘Make It with You’, for example, is entrancing in its lo-fi Americana. Think Motel Sundown mixed with Edie Bens and therein lies an ambling, refracted rhythm. ‘When This is Over’ is spine-tingling while ‘The Good Ones’ has the perambulating arrangement of an Andrew Combs or Martyn Joseph track. The effect is like sitting watching the sunset in a library, the books oozing their knowledge into the atmosphere. It is calming, soothing and thought-provoking.

‘Hold on Honey’ encapsulates what The Goudies do best. With the help of fans, they have been able to bring their vision to fruition, pouring emotion and deftness into a project that warrants their rising reputation. It is an album to savour. Rich in its flavour.

You can listen to the album on your chosen streaming platform, or purchase a copy from their online store here.

Featured Image (C) The Goudies

Izzie Walsh – Where Do We Go From Here?

After a couple of years away, Izzie Walsh picks up where she left off. Her debut album ‘Where Do We Go from Here?’ is a continuation rather than evolution of her sound. That familiar Americana – haunting and enchanting in equal measure – remains the defining feature around lyrics that shimmer with deep simplicity. Whether it be songs of love or loss, each features an arrangement of strings that is compelling. A repetition of lines that convey so much in such a succinct way. There are no broad brushstrokes here when it comes to variations in genre. Hers is thoroughly tied to a particular choice of instrument. The banjo, mandolin, violin, viola and guitars serving to create cacophony and contentment in the context of each track.

The biggest shift comes in ‘British Summertime Rain’ as an ethereal Celtic wave suddenly crashes onto rockier ground. The percussion punching through into a second half that retains the same repeating chorus as the first, but with more immediacy. As if the “hearts grow[ing] wild” abruptly burst into full bloom. Such shifts in tempo and temperament become a distinct style across all ten of the album’s offerings. But for all that similarity, Izzie Walsh produces a fascinating whole. ‘Where Do We Go from Here?’ asking pertinent questions about life in the midst of uncertainty. ‘Set Back’ a central pivot on which they hang, while the title track’s bridge offers something of an answer:

“All the times I thought were wasted / were only there to make and test me / to show me how to live and grow”

It feels like the result of some deep reflective work. Izzie Walsh encapsulating her findings in a set of songs whose ideas have ruminated in a mind now ready to let them go. All they need is to find those fellow souls who find themselves in a similar position, and when they do, ‘Where Do We Go from Here?’ will be like finding a most welcome companion.

You can read my earlier review of the album’s opening track ‘I Need You More’ here. To purchase the album, visit Izzie’s website here, or you can stream it on your preferred platform.

Featured Image (C) Izzie Walsh Music

Susannah Clegg – Good Times are Coming Our Way

‘Good Times are Coming Our Way’ is the title of Susannah Clegg’s album. An understatement if it’s used to describe her debut collection. For these ten songs firmly announce her as one of the stars of traditional country music in the UK. While many others blend pop with the genre to various extents, Clegg stays true to fiddle, double bass and guitar. Showcasing a versatile vocal alongside these trusted instruments, she crafts simple and emotive stories told with a stereotypical twang.

There is no better example of her repertoire than the opening track ‘Prospect Street’. It supplants the listener within the era of Hank Williams and Bill Monroe. Much like the Jaywalkers, Clegg does not so much pay homage to these artists as put her own spin on their popular sound. The result is highly evocative. ‘Put Me in My Grave’ walking a fine line between consuming love and melodramatic heartbreak well.

The fiddle is expertly adaptable, shifting emotions throughout. Its playfulness giving way to a kind of sorrow on ‘Tess’. The track is so atmospheric, bringing to mind the Gothic Folk of Toria Wooff. But it’s the chorus that is captivating – self-aware and observant, like a John Prine track – with the addition of some beautiful lines of verse featuring butterflies and moths. What Clegg does so well is include instrumental moments within her songs. They create breathing space not only for the listener but the lyrics, enabling the stories to be told with ambience that sets a certain tone. The title track, for example, turning from mellow to funereal and back again as a tale of tragedy unfolds.

‘Sweet Roses’ is a lovely little interlude before the second half of the album features recognisable tracks for those who have seen her live. Both ‘Caroline’ and ‘Colorado’ continue her penchant for measured storytelling, in ways that are highly memorable. Every word of the former rolls off my tongue after only a couple of listens while the latter is so engrossing as to be transportive. One can feel the ache towards the place which is then nicely contrasted with the fast-picking bluegrass on ‘Last to Know Blues’. By far the liveliest song on the album, it shows another side to Clegg which keeps the record refreshing. The subversive gospel of ‘Let in the Night’ to finish underlining her strengths. She is an artist steeped in the history of country music. But with this album, she most definitely makes it her own.

You can purchase Susannah Clegg’s debut album here, or listen on your preferred streaming platform.

Featured Image (C) Susannah Clegg Music

Zoe Unsworth – Old Time Soul

The title track is buried in the middle of Zoe Unsworth’s EP. But the artists it quotes are worth starting with to understand where ‘Old Time Soul’ sits. Dolly and Elvis may be two of the most obvious choices when it comes to country music, but their ability to cross-pollinate is Zoe Unsworth’s forte. Here are five tracks that span the decades, combining traditional sounds with elements of pop, and throwing in a bit of Billy Joel piano for good measure. Comparisons with Ella Langley are inevitable in the current climate, but the lyrical playfulness alongside genre-blending compositions are, in this instance, warranted. ‘Tell Tale’ and ‘Bless Your Heart’ are, in particular, full of clever lines to upend the two-timing guy and hateful antagoniser. Both utilise the fiddle and pedal steel to beautiful effect – the former tinged with regret while the latter laced with ironic truth. Meanwhile, opening track ‘Solo’ reveals her vulnerable side, with a compelling honesty wrapped in a gorgeous americana arrangement. And ‘Daisy’ loses the listener in a sprinkling of magical notes that weave together loss and acceptance. It is one of five stories here that reflect Zoe Unsworth’s ability to translate her upbringing listening to country music into playing and performing it. She does so with understated confidence. ‘Old Time Soul’ is a fantastic debut for this Manchester singer-songwriter.

You can listen to ‘Old Time Soul’ now wherever you get your music.

Featured Image (C) Zoe Unsworth

Rebecca Richards – Stories from the Stable

Rebecca Richards is an artist who is consistently good at what she does. The Welsh singer-songwriter has been gaining recognition and plaudits of late, including an invitation to spend time in Nashville. Her latest EP though has been made closer to home. ‘Stories from the Stable’ refers to four tracks recorded in Stef Judd’s studio in Norfolk. They represent an amalgamation of British Folk and US Country. The former more pronounced musically while the latter reveals itself in narrative tropes. There’s the revenge song (‘Aces are High’) to start while ‘Amber’ is Richards’ version of Dolly’s ‘Jolene’. Its light, airy and neon-filled sound capturing a jealousy that verges on admiration. Then ‘Bring It All Back’ ticks off regret with its heartrending chorus before ‘The House’ rounds things off. This hometown ode ripples with Miranda Lambert’s similarly-named song. But whilst that is tinged with sadness and longing, Richards’ EP-closer is only celebratory. Topped with some beautifully emotive piano and pedal steel. Further evidence that Pontypool’s own can mix it with Nashville’s country music natives.

You can listen to Rebecca’s EP on your preferred music platform now.

Featured Image (C) Rebecca Richards Music

Bryony Sier – Who Am I

Bryony Sier has managed to sum up her album in nine words. One for each song on the record. It is some feat considering that her sound has always been hard to pin down. ‘Who Am I’ feels like a natural follow-on to 2020’s ‘Personal Monster’. Themes of identity and mental health persist but there is much more positivity than previous. Perhaps because you sense Sier is rewriting her story.

The title track asks a question that has always been at the heart of her music. One which seems to be verging on an answer as she stands “across the divide”. The break between a trauma-filled past and a freedom-full future in sight. But in true Bryony Sier fashion, she muddies the waters, capturing the complexity of human emotion. The line “words can live on / years after they are said” summing up, rather poignantly, this point.

It is one of a couple of songs on the album that most resembles country-pop. But as ‘Telephone’ demonstrates, she appears to be veering more to the latter end of the spectrum now. This is by far the bounciest number of the nine, its story of connection (or lack thereof) reminiscent of Izzie Walsh’s latest single. Both artists tackle the realities of life as a 20/30-something, Sier’s ‘Brand New’ and ‘Let’s Talk’ further detailing the transition into adulthood. The vulnerability with which she relates her experiences echoes through the lyrics in haunting fashion. For those who have gone through similar, it is comforting, even empowering.

‘Why Do I Matter’ and ‘Platform 8’ represent her attempt to win back the narrative. The former proclaiming agency through beautiful irony whilst the latter is defiant in its unashamedly autobiographical rendering. This is the closest she comes to answering the album’s title, and it is Swiftian in its response. Along with heartbreak and ambition, Bryony Sier touches on a bit of everything to make a record that feels well-rounded but above all forward-looking. Its central message to “keep on holding on”, for nothing lasts forever. “I’m finally seeing in colour”.

You can purchase the album from Bryony’s website here. 

Featured Image (C) Bryony Sier

H.B. Whitman – No.1 Best Selling Page Turner

You can be forgiven for thinking H.B. Whitman is an American export. But the traditional country sounds on his debut single ‘No. 1 Best Selling Page Turner’ have been honed in England. Having studied the history and craft as a session musician, the influence of Kris Kristofferson and John Prine can be heard not only in his vocals but his songwriting too. It ensures that this first foray into original material sits on sure foundations. Balancing sincerity with humour, he tells the story of a man who discovers a bible in “that bedside drawer” and its impact on him. The second verse in particular really comes into its own, complete with bobbing harmonica and playful pedal steel. One can’t help hearing the double meaning of that leading line “Jesus Christ / what a man” – both a reflection by the protagonist on this central figure of the Gospels, and an appreciation by Whitman and his listeners for this man’s unique approach to faith. The result is a song that brings a wry smile, and a warm welcome to the UK Country scene for this Brighton-based artist.

Released on September 2nd 2026, you can listen to the single on your preferred streaming platform.

Featured Image (C) Milo Costelloe

Izzie Walsh – I Need You More

‘I Need You More’, the new single from Izzie Walsh, is a reminder that presence is the most important thing in life. But as many of us experience in “the rat race” of contemporary culture, to be there in practice is not always easy. We “work till we feel the bones” to try and make something for ourselves and that can come at the expense of emotional and physical investment, particularly in the relationships we hold most dear. There is a real hunger borne out in this track for more than just passing sentiments like flowers and roses. In the all-too-familiar banjo of Walsh’s music is a gentle cry for the attendant other and nothing more. It conveys a beautiful simplicity, as defines her general style. Quietly political, it is a welcome return for one of Manchester’s foremost artists in UK Americana.

Featured Image (C) Izzie Walsh

Olivia Lynn – Little Miss Nightmare

Olivia Lynn’s single might have been late to its own release party but its eventual appearance has been worth the wait. Through no fault of its own, ‘Little Miss Nightmare’ was taken down from Spotify (along with the rest of Lynn’s material) and only reinstalled after the tenacious work of Lynn and her parents. The kind of resolve seen in the protagonist of this song. Borrowing from ‘Jolene’ by Dolly Parton, the track is suitably sassy, confident, and full of bravado. The woman at its centre warding off, in no uncertain terms, the advances of another towards her man. Lynn channels the spirit of Lauren Alaina in her powerful vocals which shine through an electrified country-pop composition. It is a very different tone to her most well-known tune, ‘Open’. But it’s no less memorable and deserving of as much recognition.

Featured Image (C) Olivia Lynn

Amy-Jo – Dumb

There is something undeniably tasty about Amy-Jo’s latest release. Not just the riff of its chorus, playing so delectably on its title, ‘Dumb’, but the assured put-downs and playful interludes too. This is her response to the mansplainers and misogynists who would have her “sat on my phone in the dark”. The kind that like “a girl who agrees”. But in the vein of Katy Hurt and Annie Dressner, Amy-Jo rejects this coercive male desire through a series of wonderfully subversive lines wrapped in a most beguiling composition. Even the ever-present encouragement displayed in her songs has a spicy irony:

“I’m sure you’ll meet your someone… / who’ll march to your own drum”.

The result is a track that garners real anticipation for her forthcoming debut album. The excitement for which is really building now.

Featured Image (C) Amy-Jo Clough