Tag Archives: acoustic

Vic Allen, Voodoo Daddy’s Show Room, Norwich, 2 November 2025

Beth Keeping was first on stage at this atmospheric underground venue. Her songs are full of story and imagination, from her ambivalent feelings for the city of ‘new york’, the rush of ‘Plane Tickets’ and the poignant family memory of ‘known you better’. An accomplished guitarist and keyboard player, she was later to reappear on stage with Vic.

Vic Allen also threads confessional lyrics through her country-pop songs, to great effect in the classy opener ‘Enough’. Following on with the evocative ‘Mexico’ and ‘Barcelona’ and the melodic ballad ‘Confetti’ showcases her range of original compositions. She is a good communicator, explaining the stories behind the songs. A cover of ‘Dakota’ by Stereophonics and a sensitive version of Beth’s ‘Two Seats Down’ fitted neatly into the set. Many of the tracks feature on Vic’s album ‘Some Place I’d Rather Be‘, including the autobiographical ‘Suitcase’ and the pounding country-rock of ‘Drive-Thru’ bringing the set to a spectacular close.

https://www.vicallenmusic.com/

https://www.bethkeeping.com/

Chloe Foy, St Pancras Old Church, London, 16 October 2025

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The timeless surroundings and balanced sound quality of this historic venue were perfect for the thoughtful songs on show tonight. Opening the evening Jack Patchett played his gentle acoustic compositions, sung with calm sincerity to an attractive guitar and keyboard accompaniment.

‘Where Shall We Begin’ and ‘Complete Fool’ are the title tracks to the first two albums from Chloe Foy and they resonated around the church at the start of her set; gorgeous and atmospheric. With a changing line-up of backing musicians there were many highlights, especially the stunning duet with Eli Carvajal ‘What I’d Give’ and the heartbreaking piano ballad ‘Empires of Dust’.

‘Spare’ is a lovely track, the hypnotic melody completely driven by Chloe’s clear and expressive voice as was the surprise encore of an a capella version of ‘Squareface’, performed wearing the black crown against the orange sun of the album artwork and a fitting end to this excellent show.

http://www.chloefoy.com

https://jackpatchett.bandcamp.com/music

https://elicarvajal.com/

Katherine Priddy, Cherry Hinton Hall Grounds, Cambridge, 2 August 2025

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The world famous Cambridge Folk Festival is being rested this year, replaced by a series of alternative events such as a free day of music in the picturesque grounds of Cherry Hinton Hall. Katherine Priddy brought her likeable personality and dreamlike folk songs to the large crowd on this warm afternoon, accompanied by additional guitar and vocals from George Boomsma.

With two albums to draw from this compact set had a haunting intensity, as shown in the first two songs ‘Does She Hold You Like I Did’ and ‘Eurydice’. The pure sound and gentle waltz of ‘A Boat on the River’ is a gorgeous song, with melody and lyrics combining perfectly, for me one of the highlights of the afternoon. The irresistible tempo of ‘Letters from a Travelling Man’ raised the pace before the last song ‘Ready To Go’ showcased the duo’s harmonies and acted as a fitting finale to an excellent performance.

http://www.katherinepriddy.co.uk

http://www.georgeboomsma.com

Chloe Foy, David’s Bookshop, Letchworth, 11 June 2025

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Singer/guitarist Chloe Foy performed several tracks from her newly released second album in the relaxed setting of David’s books and records. Opening with the title track ‘Complete Fool’ the gentle acoustic guitar waltz and her emotive voice held the audience spellbound.

Many of her songs describe the end of a relationship; harrowing heartfelt and multi-layered. Longer songs ‘Elephant In The Room’ and ‘I Tried So Hard To Disappear’ subtly pulled the listener in while the languid ‘Blinkers’ made a more direct point (as the noisier recorded version certainly does!). Best of all was ‘Empires of Dust’, a perfect combination of melody, lyric and tone…

https://www.chloefoy.com/

The Magpies, Stapleford Granary, Cambridge, 3 May 2025

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Folk trio The Magpies played to a sold-out audience in a spectacularly converted building that is relaxing visually and perfect acoustically.

Opening with the busy ‘Now And Then’, the trio immediately pulled the listeners into their musical world; the line-up of violin, banjo and guitar along with various vocal combinations bringing the stories and emotions in the songs to shimmering life.

Most of the tracks were drawn from their last album, a follow up to their debut ‘Tidings’ (see review below). There is also an EP due soon. The set is balanced between their own compositions, with rich ballads like the title song ‘Undertow’ and ‘Galileo’ alongside sprightly instrumentals ‘Solstice’ and ‘Colin’s Set’.

The featured traditional tunes are highlights too, especially the singalong of ‘Fall On My Knees’ and the gorgeous ‘Hares On The Mountain’, the beauty of this performance seeming to make time stand still in the auditorium.

A cover of ‘Sweet Dreams(Are Made Of This)’ was a lively finale to a superb show.

https://www.themagpiesmusic.com/

The Magpies : Tidings, LP released June 2020

Morganway, Relevant Records, Cambridge, 31 January 2025

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Morganway celebrated the release of their third studio album with some in-store preview shows, kicking off in the hallowed basement of Cambridge vinyl shop and cafe, Relevant Records.

The band created a mellow, engaging sound with the space created by the acoustic line-up allowing each instrument to shine through. Starting with the punchy ‘Devil’s Canyon’ the six-piece showcased a variety of styles, from the smooth country-rock of ‘Boy On The Train’, the heartfelt ‘Don’t Turn The Lights On Yet’ to the environmental call to action of the album title track ‘Kill The Silence’ and the gentle anthem ‘We Sing’. The strong lead vocals of SJ Mortimer, subtle band harmonies and soaring violin are a key part of the sound but the individual contributions of all the members combined make this band a considerable force.

https://www.morganway.co.uk/

https://www.relevantrecordcafe.co.uk/

Soloman Smith : Y’dig That !, LP released 1 August 2023

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The new album from singer/songwriter Soloman Smith is full of jazzy and thoughtful tracks, laced with some acerbic social comment but always retaining the sanctity of the groove.

Opener ‘Analog’ bemoans the passing of simpler forms of communication ‘…only reel-to -reel feels real…’ in a dense lyric over a relaxed backing from his band. This is followed by the more insistent ‘System ain’t equal ain’t fair’ using examples from US politics and bringing in some spicy electric guitar from key collaborator Chris Newman. The lightness of touch of ‘Toulouse’ is a pleasure to listen to, with the travelogue lyric woven through with sparkling piano.

‘Nora’ is possibly my favourite on this LP; a simple ballad in waltz time, infused with introspective emotion. ‘The Devil and Mister Leech’ is an upbeat rendition of a macabre local folk tale, before the wistful piano ballad finale ‘The Crooner’s Elegy’.

With this mixture of styles and immersive lyrics along with warm playing and production there is plenty to enjoy on this fine collection of original songs.

solomansmith.com

Jo Ash, Commemoration Hall, Huntingdon, 13 July 2023

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The atrium of this historic building was the venue for an acoustic evening with singer/songwriter Jo Ash, accompanied by piano and with guitar on some songs from fellow Derecho band member Mike Wheatley. It was an opportunity to hear a full range of songs from her back catalogue, including new material and covers.

Starting with the moody spikes of ‘Drama Queen’ from her recently released album ‘Growing, Flying, Falling’, it was then the cosmic expanses of ‘4D Journey’, featuring one of her most memorable choruses. The atmosphere-drenched waltz of ‘Innocence’ discreetly steals the show in the first part of the evening along with Jo’s join up of Bowie’s Space Oddity and her own rather gorgeous ‘Otherworldly’.

‘The Painter’ was the bluesy opener to the second set, featuring a vocal rich with understated emotion as was a cover of The Beatles ‘Across The Universe’. Derecho song ‘Fear’ is a lyrically neat poprock track and the newly recorded electronica of ‘Run’ works well when played acoustically. The grand finale waltz of ‘Blue Heart’ soared up into the high octagonal roof of this attractive and intimate venue; it was a superb evening of compelling and mesmeric music from this very talented performer.

http://www.joashmusic.com

https://www.commhall.org/

Jesca Hoop, Storey’s Field Centre, Cambridge, 8 December 2022

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Chloe Foy opened the show with the ethereal title track from her 2021 debut album ‘Where Shall We Begin’ (reviewed here) and immediately set the tone for this thoughtful and engaging evening in the spiritual surroundings of this attractive hall. Her songs interweave lyrical honesty with a heartfelt vocal performance supported by a single guitar; combining to great effect particularly on the glorious ‘Evangeline’. Chloe also contributed harmony vocals and multi instruments for the rest of the show.

Headliner Jesca Hoop, brought her evocative songs to shine and intrigue, featuring many from her newest album ‘Order of Romance’. Her sparse guitar lines combine with sensitive percussion and bass as a platform for her distinctive voice and lyrics that pull the listener into a world of abstract imagery and personal reflections.

The music moves in unexpected directions, a balance of dark and light that gently sparkles in the excellent acoustics of this venue. The melodic beauty of ‘Lyrebird’ and ‘Pegasi’ were standout tracks, staying in the mind long after this brilliant show had ended.

https://www.jescahoop.com/

https://www.chloefoy.com/

Flaming June : The Ballad of Daniel Dawson, single released 18 June 2021

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Flaming June releases a new single, ahead of an album called ‘Hope in a Jar’ due in the autumn of 2021. From her lockdown attic songwriter Louise Eatock has carefully crafted a follow-up to her 2018 release ‘The Women’s Battalion’, a timely reminder of the historic struggle to improve the inequalities of the voting system one hundred years ago. Musically it was restless and urgent, with the powerful rhythm guitar duelling with the incisive violin from collaborator Alex Herring. That intensity and music combination carries into this new song; a fast paced likeable folk soundtrack to a very dark tale.

Daniel Dawson was hanged in 1812 in Cambridge (in front of a crowd of 12,000 people as it was market day in the city!?) for poisoning race horses at Newmarket. Louise’s lyrics tell the courtroom story and see Daniel as the scapegoat for unseen powerful figures ‘…just swallow down that bitter pill…I’m just one cheat among many…a little minnow plucked from the shallows…’ and concludes that ‘….he’s a lesson that we can learn from…’, with an undertone of resignation.

Transferring a wider issue into an individual case ‘protest song’ to give extra impact and make an issue more relatable is a little used but very effective song writing tool – Bob Dylan has a few including ‘The Lonesome Death of Hattie Carroll’ and ‘Hurricane’ – now ‘The Ballad of Daniel Dawson’ joins the list and reminds us that many of these societal injustices and themes just keep repeating…

Flaming June (flamingjunemusic.com)

Flaming June : The Firework Maker’s Daughter, EP released December 2018 | cambridgemusicreviews