Mared – Everything I Left Behind

Mared’s latest EP washes over the listener like waves on a shore. If Sian Eleri is yet to play it on her Chillest Show then it’s strongly recommended. ‘Everything I Left Behind’ exists in a liminal space, floating between alt-folk, RnB and electro-pop. Fellow Welsh artists Georgia Ruth and Al Lewis come to mind in both in its sonic delivery and vocal whimsy. There is a real dividing line between third-person, character-driven narrative and first-person, metaphoric introspection. The former so strong in its imagery (‘Consequential’) and powerfully portrayed (‘Unwinding’) as to invite the listener to invest emotionally in their stories. The latter so honest in its rendering that, when mixed with an amplified electronic sound, communicates a transitional state between past and present, loss and possibility, in the context of relationship (‘Numbing’) and self (‘Everything I Left Behind’). Holding the two sides together is ‘Bore Hir’, a sensuous track whose inclusion of real water trickling alongside guitar strings exemplifies the overall vibe of this record. It is one that invites reflection – amser i anadl – as Mared combines lyrical vulnerability with mellow musicality. An approach that has worked for her before, and in the case of this EP, is a winning formula.

You can listen to Mared’s new EP on your preferred streaming service or, like me, you can purchase a copy on her Bandcamp page.

Amy-Jo – Hypocrite

Sat between a mainstay of UK Country music and a Nashville singer-songwriter, Amy-Jo holds her own. It is testament to how far she’s come that the level of performance between her, Two Ways Home and Regan Stewart is seamless. Her rendition of ‘Hypocrite’ at the latest Good Company Songwriters Round self-assured and unwavering. It is surprising how close the actual single is – the first to be released from her debut album – to this acoustic rendering. Stripped of the pop that I’d been expecting and instead filled with a multitude of strings, mandolin chief among them. Not so much as to create an orchestra but the track itself is certainly orchestrated to ensure that the lyrics are front and centre. A familiar approach that will delight fans of Amy-Jo’s storytelling, which is at once personal and relatable; provocative and whimsical in this instance. And intriguing enough to want to hear more from this next chapter that she’s calling her “purple era”.

Featured Image (C) Amy-Jo

Taynee Lord – Still Searching

Taynee Lord continues her country mash-up of pop and rock with her latest single ‘Still Searching’. Taking popular symbols from fairytales to tell her own story of love in a modern world. She is honest and unrelenting in her pursuit of ‘the one’. The central image of the frog is two-fold: both representative of those relationships that haven’t worked out, and the one, still to be found, that turns into a prince. This is the ‘happy ending’ she is searching for – where love respects vulnerability (“the castle walls came down”) and appreciates beauty (“I dusted off the ballgown”). The seminal guitar riff and ceaseless drumbeat her refusal to give up on it, despite yet “another trip around the sun”. It all makes ‘Still Searching’ the perfect way to tee up an EP that will no doubt continue her musical flair when released next month.

You can follow Taynee Lord on social media for the latest updates on her upcoming EP, links for which can be found on her website.

Featured Image (C) Taynee Lord

Annie Dressner – Dumb Boy

The nostalgia spilling through from Annie Dressner’s latest single sure hits the spot on a lazy Sunday afternoon. ‘Dumb Boy’ takes me back to my late 90s childhood when its soft punk sound penetrated the airwaves much more than it does these days. Its story of unrequited love never goes out of fashion though. The push and pull of attraction, false reciprocation, and ultimate heartbreak painting a classic picture of romance amid a Wheatus-style arrangement. Indeed, this song could have come straight from their ‘Teenage Dirtbag’ playbook. Except the ‘dumb boy’ of the title is not so much listening to a band like Iron Maiden as being in one. His allure that of a rock star whose shine fades, and with it, the hopes of the protagonist. Their assessment an honest one. Dressner capturing well, as she always does, the complexity of emotion.

You can catch Annie Dressner supporting Kris Drever on tour throughout April. For more info, visit her website here.

Featured Image (C) Annie Dressner

Gig Diaries – The Jaywalkers

Away from the bright lights of the O2 last weekend, I made my way to the Tin Shed in rural North Wales. Such has been the growth of country music in the UK over the past decade, it is not just the C2C Festival that is now on offer for fans of the genre. And so away from the crowds dressed in Stetsons and cowboy boots, I found myself in a more sedate but no less appreciative atmosphere – among a sell-out audience of some 100 people here to listen attentively to the Jaywalkers.

I have come across this three-piece band before. Their festival appearances always welcome. In an age where pop and rock are often added, to hear the more folk and bluegrass elements brought (and mixed to produce some swing-time fare) was a personal delight. As such, to be graced with a whole evening’s worth was far more joyous than I had anticipated.

The trio seemed to be having fun themselves too. Smiles spread ever more widely across their faces as the night went on. It meant that songs such as ‘Playsuit’ and ‘Whiskies’ became more playful while ‘Leaving Lerwick’ and ‘Ain’t Nobody’s Business’ were light-hearted and unrestrained.

The stories behind the songs, told in a conversational tone between the three, only added to the geniality of the evening. It meant that ‘Gone Forever, with a more serious message, never felt preachy; the frustration of ‘Never Been Played on the Radio’ taken with a pinch of salt.

There was a lovely moment to end – this little crowd singing along to the refrain of ‘December in the Desert’:

“I hope that this year is better than the last”.

I thought about how opposite it was to a full stadium, belting out hits by some of country’s biggest acts in unison, to create a tidal wave of sound, but how, in this more intimate setting, this felt more hopeful; tangible. Perhaps it’s just me, but I find these kinds of gigs far more fulfilling these days. Evidenced by the fact that I have no regrets at missing out on Country’s biggest event. Content, as I drove home through country lanes in the dark, at having listened to the Jaywalkers here instead.

This was written after attending the Jaywalkers show on 14th March 2026 at the Tin Shed in Treuddyn, North Wales. You can find further dates for future shows on their website here.

Gig Diaries – Northern Songbirds 2026 Tour

The final leg of the inaugural ‘Northern Songbirds’ tour came to Liverpool, in the ever more intimate setting of the Kazimier Stockroom. It felt small enough on my first visit a month ago but this time a curtain across one side and a lengthy merch stand on the other meant a tighter squeeze. It took nothing away from the atmosphere, full of dependable listeners and excitable fans of the four girls who graced the stage.

Unlike the other dates, which took the form of a writers round, this one was a series of mini sets by first, Susannah Clegg, then Zoe Unsworth, followed by Amy-Jo and finally Bronnie. What stood out was the eclectic mix of styles – showcasing the breadth of Country Music in the present day. We went from Clegg‘s old-style classic to Unsworth‘s blues-soaked sound; Amy-Jo‘s catchy Country pop to Bronnie‘s passionate punk rock. Threaded throughout was a penchant for storytelling, and a championing of each other’s music that felt refreshing.

Susannah Clegg began proceedings, with a solo performance that demanded no accompaniment. Her strong Midwestern vocal and accomplished guitar playing were enough to echo the sounds of yesteryear. Zoe Unsworth then brought a dash of the contemporary – piano and bass mixing well with fiddle to communicate heartfelt (‘Home’) and happy (‘On the Dancefloor’) to great effect. Her final song was ideal in setting up Amy-Jo, whose first ever live set with a full band drew out her usual pop and RnB vibes well. It was just a shame that the feedback from her mic was so distracting. It was a rare blot on a night that saw Bronnie headlining with some of her more anthemic tracks. ‘Own Girl, Own World’ and ‘Tea for Two’ going down well with a home crowd who were treated to a version of her earlier punk incarnation in the form of ‘Scream’ to end.

All four then took to the stage for an extended encore, in which each of the four cover tracks matched their respective styles. Clegg’s fabulous rendition of Loretta Lynn’s ‘You Ain’t Woman Enough (To Take My Man)’ was a highlight, with ‘Girl Crush’ bringing the curtain down on a tour that seems to have had enough success for future dates to have already been mooted. And when someone as highly esteemed as Katy Hurt has enjoyed herself, singing along and dancing at the back, one can only assume that they’ve done something right, and will indeed be back.

This was written after attending the Northern Songbirds tour on 8th March 2026 at the Kazimier Stockroom Liverpool. You can check out the music of Bronnie, Susannah Clegg, Zoe Unsworth and Amy-Jo by clicking on their respective names here.

Featured Image (C) The Northern Songbirds

Fieldlily – Grow

The metamorphosis from Wildwood Kin to Fieldlily has not been as radical as the timespan. The Key sisters have retained much of their electro-folk that still washes over the soul like waves on a shore. The difference now, in the absence of drummer Meg, is less a punctuation and more a delicate offering of wisdom gleaned. Their debut EP, ‘Grow’, forming from four years of uncertainty to become a wonderfully introspective work.

It displays the same depth of lyricism for which Beth and Emillie have always been known. The first line of the title track setting in motion the slow, sometimes painful, often strange, journey through life’s seasons. The push and pull of action and reflection, trying to figure things out as the world keeps spinning, becomes an ideal metaphor for our contemporary age.

Much like in their previous incarnation, there is a focus on mental wellbeing. Their use of the natural world still existing as a place of revelation. That walk through the meadow in ‘Let Go’ is particularly powerful. The final line of its chorus profound in its apparent contradiction:

“I hardly knew what it truly meant to you when I let go”

One can feel the shackles loosening as the EP goes on. The freedom felt in the music of ‘Tell It How It Is’ echoing into the final track. ‘Shelter’ embracing a quiet but stable hope.

Here, looming storm clouds are met with renewed resilience. There is an inner strength that speaks both of safety and perseverance. At one point, ‘The Bones’ by Maren Morris resonates; at another, ‘Safe’ by Ward Thomas. It is the kind of love we all look for, and which Fieldlily seem to have found. It caps off an honest and hopeful collection. One which, for the time taken, has been worth the wait.

You can listen to ‘Grow’ on most streaming platforms, as well as purchase a digital or hard copy via their websites.

Featured Image (C) Fieldlily

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