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Live Reviews

Ely Folk Festival 2025 Review

If folk music is the people’s music, as I still firmly believe it is, then the overriding mindset and spirit of the indelible movement is that of a musical community with a common language in sound and story telling expression. So, within those parameters it might seem at odds with the ethos for there to be a competitive element to any performances at a folk festival. But at first glance the Saturday evening of this thoroughly wonderful weekend jamboree appears to be staging that very thing on the Nightingale Stage, the ‘café style’ of the three stages here used for more intimate concerts and workshops. The Nightingale Competition allows sixteen unscheduled performers to sign up for two songs each after which the judges will deliberate and declare a winner whose prize is the chance to open up the Peregrine Stage, the large main arena with all the kudos of a showcase space and audience, on the Sunday morning. But far from a battle environment, there is a charming air of camaraderie to this whole session, singers and players united in a desire to encourage the best out of each other. Where some took on folk standards or singer-songwriter classics by the likes of Joni Mitchell, there was an inspiring selection of original songs on offer. In fact, it was one of these by Douglas Smallbone, an emotive song of personal trauma that not so much plucked the heart strings as smashed a power chord with them, that could easily have won the likeable Essex troubadour the night. That honour, amid other stiff competition from Barbara and Gerd (exemplary guitar work) and Old Geezer (solo vocals on a re-write of Ian Dury’s ‘Apples’) went to a hypnotising guitar and vocal duo called The Woodwards. All told, this was a wildly varied and captivating evening’s entertainment.

Douglas Smallbone tearing it up at the Saturday night Nightingale competition stage

This has been a big year for the Ely Folk Festival, not as big as next year when it celebrates its fortieth anniversary, partly due to a massive gap in the live folk market emerging with this year’s cancellation of the neighbouring Cambridge Folk Festival. I spoke to a lot of people over the course of this weekend who would normally be at Cambridge and whilst many would no doubt attend both, there are also some who readily admit to coming to Ely in Cambridge’s absence. They also freely acknowledge that this is a festival every bit as good as its higher profile nearby event and that they intend to return. The differences are negligible, Ely is certainly smaller but with three stages filled by programmes of music, a beer tent, food stalls, market stalls, craft and family activities, generous camping areas, reliable shuttle buses from town centre to festival site and a round the clock air of jigs, reels and folk jams breaking out there is absolutely nothing lacking in the festival experience at all. There is even a Morris display that descends onto the Ely city centre. Whereas Cambridge possibly feels the commercial pressure of needing some big-name headliners, Ely by and large focuses on loading their bill with folk and folk adjacent musicians of a strong pedigree. So, in that sense Ely is arguably the destination for the purists and hardcore folk fans out there. For my money though, it is simply a situation ripe for those with an open ear for great music. I caught acts I have loved in the past and uncovered new obsessions; there was rarely a moment across the three days when I could not find audible entertainment to excite the senses.

In a weekend over populated with highlights I shall attempt to reflect on the performers leaving the biggest impression on me; the first sounds I chanced upon were 2Steps 4Words, a five piece singing original material possessing a rough hewn rustic charm that reminded me of the Trader Horne sound I love on obscure early seventies records of a similar ilk, they sing of locations visited on travels around the East of England. My first main stage sensations were Kelvin Davies & Chloe Turner, and it turns out they are one of two festival Spotlight competition winners for this year (a new development in the annual talent contest which now has a space for solo and duo entrants alongside a separate challenge for bands). These two play a darkly absorbing blend of murderous early twentieth century ballads by people like The Carter Family, their guitar and vocals are sumptuous enough, but they are also joined by the festivals most dapper man in a heat defying three-piece suit on harmonica. Back in more intimate surroundings, Martin Baxter gave off an authentic air of British folk spirit, especially with a lesser familiar version of ‘John Barleycorn’ played on acoustic guitar along with an electric fiddle and Pat (seen earlier in the act opening this stage) on futuristic drum pads.

Kelvin Davies & Chloe Turner with dapper harmonica player accompaniment

On Saturday afternoon I paid my first visit to the Kingfisher concert stage for some affectional story telling in song from Suffolk’s EllYTree. I had pre-investigated this songwriter (real name Helen Woodbridge) before the festival and so was prepared for some deep, stirring material, accompanied by Fara on cello, and she did not disappoint. One stand-out was a story song about two siblings known as the Numero Brothers who could only communicate through numbers and were later separated never to speak again. Across the site at the main arena, The Cain Pit rocked up for the intense post-midday heat looking more like an emo band from twenty years ago than anything identifiably folk. Still, their ‘punkgrass’ sound was ready made for this moment and these North Walsham warriors were too. This is rockin’ hillbilly with a passing nod to the Stray Cats, and they play it fully intent on shaking down this sunstruck crowd. The audience even get slowly to their feet (some quicker than others) towards the end as we are encouraged to attempt a Charleston impersonation for ‘I Just Thought You Should Know.’ Warm, engaging, self-mocking (they describe fast picking banjo player as “born in a barn and doesn’t own his own pair of shoes”), it feels like Cain Pit have lit the fuse today. The light air they generate paves the way for the lush harmonies of Roswell Road to sing down from sunny, near cloudless skies. Theirs is an intoxicating brew that lives up to some of the big-name comparisons that accompany their billing, in this case Fleetwood Mac and First Aid Kit.

Monroe’s Revenge are a mainstay of the British bluegrass scene, a five piece who are now built around lead singer and folk veteran Dave Plane, they are both authentic, proficient, and easy on the ear. They are also a visual throwback too and I am not just referring to mandolin player Joe Hymas’s dungaree donning wurzel look, it is in the way they gather around the one microphone emphasising how this sound beautifully stitches together as one. And a bit of dark wit goes a long way too, when introducing a Stanley Brothers murder ballad which developed from ‘Girl Behind The Bar’ into ‘Little Glass Of Wine’ Hymas quips “it’s best to try both methods.” Then, following an evening of aforementioned competitive action, I finish this exhilarating Saturday evening with Danny & The Champions Of The World. Their winning blend of British Americana is in fact the closing act on what has been a themed night over on the Kingfisher Stage but experienced in isolation, this is also a life-affirmingly bright, spirited and energised burst of songwriting excellence worthy of top-billing on any festival stage where values like craft and passion are key. They also inspire the front rows to find their dancing feet in a set where the warm feelings are transmitting from audience to stage and back in equal measure. Back at this same stage the following morning I find Melody Coles playing more reflective but no less committed songs of a folky and personal nature in a set that later explodes into a thunderous guitar, cello and mandolin Fleetwood Mac and Kate Bush mash-up.

Danny & The Champions Of The World turn up the Saturday night Americana heat

Thunder may be in all our minds in such relentless heat, but Sunday afternoon thoughts are owned by two long established musical forces of nature. Firstly Ezio, on the Kingfisher is a lesson in song and presentation by a Springsteen/Dylan inspired writer who, as always, is accompanied by the wizard-fingered Booga on lead guitar. Ezio is long established as a Cambridge local treasure but the thing that knocks me out today is how much his composing is maturing into some rather fine work. He is irreverent and jokey in a very winning way (a song called ‘Indian’ he says was written in 2015 about the terrible state of the world before drily adding “I don’t think it made a lot of difference”) but still, when setting up a song about his daughter with droll anecdotes of heckling skinheads and the like being reduced to tears the last thing I expected was for it to immediately prompt that very same reaction in myself but boy, it really did, what a song. He pulls off that rare trick of catching real emotion in a magical combination of words, melody and dynamics. I conclude that, for all the emphatic love being thrown back at the pair as they play old favourites like ‘Saxon Street’ I believe that Ezio is growing as a writer with work surpassing previous high points and we should all pay close attention to this artist right now. Rock history is long enough for us to realise that the kind of writers in the DNA of Ezio’s music made incredible new records even in their most senior years, there is no reason for this man not to follow in their footsteps.

Ezio & Booga (left) who invited the singer to “pull some shapes”; he replied “I could but I might not recover!”

My second legend of the afternoon is found over at the main stage where Martin Simpson performs a solo acoustic set of high pedigree. He may seem a little jet lagged, stumbling over one or two lyrics, but this does not detract from the underlying class on display. The weariness is down to him just returning from three weeks in the US, a detail we learn in the spoken introduction to Woody Guthrie’s 1948 song ‘Deportee’ as Martin describes having to watch his words about the current US administration for fear he would not get back home. Martin continues to delight us with some touchstones from his deep back catalogue alongside other supreme renditions including a gorgeous take on the Richard Thompson composition ‘Down Where The Drunkards Roll.’ Later tonight we are treated to another side of Martin Simpson when, as part of The Magpie Arc, he is given license to flex as much fuzz and electric acid-folk guitar as he can muster. We also learn that this is to be Simpson’s final appearance with the group, something of a disappointment to me as I have only just discovered them and they are indeed a dream combination for anyone who, like myself, is in love with that late sixties, early seventies Fairport/Fotheringay folk-rock sound. They have it all, rhythm, fiddle, guitar sonics, electric folk jigs with prog leanings and sublime vocal contributions from Nancy Kerr. Too bad this is the last hurrah of this configuration (the implication from the stage is that the band are continuing) but thanks to Ely Folk Festival, at least I witnessed their wonderous twilight magic tonight.

Martin Simpson mesmerising a main stage Sunday afternoon crowd with just two hands and a voice

And so, as the festival winds down I end where I begin, in the intimate surrounds of the Nightingale Stage and the connection of some pleasing, folk purity in the shape of Jolene & The Leaves Of Life. Here again it is the rough edges that bring a human touch, Jolene at one moment gets a fit of the giggles and later takes four run-ups at a Ewan MacColl number but when she finds her feet, this set of material ranging from Fairport Convention to the Beatles is an absolute joy. Accompanied by Richard Partridge on upright bass and Monroe’s Revenge’s joke machine Joe Hymas on guitar and mandolin, Jolene Missing surely has the loveliest voice heard all weekend, one part Shelagh MacDonald another Anne Briggs, it is pure of tone and piercing in its conviction. This is a fitting end to a memorable festival in which, despite stiff competition from the warmest of sun-kissed weather, music has been the winner throughout. I cannot wait to see and hear what they serve up for the fortieth anniversary in 2026.   

Melody Coles bringing warm harmonious waves of Stevie Nicks era Fleetwood Mac to the Kingfisher Stage
Monroe’s Revenge are the sound of early twentieth century bluegrass played with happy, engaging spirit
Departure time as the Sunday sun sets on a triumphant and memorable three day folk festival

Reviewed by Danny Neill

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Fresh Juice

Fresh Juice 14th July 2025

Madeline Kenney – Semitones

We kick off with some emotive and sonic intensity this week as Madeline Kenney makes unflinching eye contact with the viewer through the camera lens leaving you in no doubt as to the conviction in her song. ‘Semitones’ addresses, in Madeline’s words, the moment when you “start to dread someone instead of love them”. This is so much more than a looking through you moment though, Madeline is in equal parts playful, mocking and savage in her assessments and absolutely revelling in the sonic palettes she uses to paint her vivid audio pictures with. This is taken from her fifth album, ‘Kiss From The Balcony’ set to be released on July 18th on her long-time label home Carpark Records but for now, get a taste for the main course with the intense ‘Semitones’.

Tombstones In Their Eyes – I Am Cold

Atop that crunching psych-rock bedrock, the insistent pounding rhythm and the slow smoky rise of the layered vocals there is something actually quite gorgeous going on here. There is a yearning to this song, an ache in the turbulence of the lyric that resolves with the chilling statement of the song title. As much as all psych influenced music can be traced back to the sixties, I am equally reminded of echoes from twenty-five years ago and a song like ‘Winterlight’ by Clearlake, something in the icy melodicism and sense of air and weightlessness leads me there. Either way, this is a quietly wonderous tune from these LA psychedelicists that is available now on Kitten Robot Records

Cochemea – Ancestros Futuros

Were Sun Ra still around today he would probably be making music that sounded something like this. This is both futuristic jazz and traditional in its respect of melodic patterns and tropicalia rhythms but whatever references one might be inclined to pin to this music, it is absolutely essential. It moves, it shifts, it rises, it falls, it bangs! This is sensational (I’m writing as I listen by the way, that’s probably obvious). Cochemea is a multi-instrumentalist and composer and this is the third and final part of a trilogy to be released in September on Daptone Records. It has been recorded with an octet of NYC percussionists along with Daptone alumni and is anchored in the cultural fabric that has nurtured him from the beginning through his Yaqui ancestry.

Allo Darlin’ – My Love Will Bring You Home

Here we have a cool recent live rendition of a rather Springsteen-like rocking ballad from Allo Darlin’s newly released album ‘Bright Nights’. This is a welcome return from Allo Darlin’ being the first new music released since 2014 after which they went on a decade long hiatus. Originally a London based outfit evolving out of a solo project built around the songs of singer Elizabeth Morris, their full band sound became a delightful amalgamation of lo-fi indie aesthetics and warm tune heavy guitar-pop writing. Happily, it is this that they appear to be tapping back into upon their return.

Big Thief – Incomprehensible

And here is another old favourite making a return, although on this occasion it is a band who have been rather prolific over the past ten years. Now listed as a three piece consisting of Adrianne Lenker, Buck Meek & James Krivchenia, Big Thief are set to release a new album called ‘Double Infinity’ on 5th September, via 4AD and if this teaser is anything to go by, their hot streak is showing no sign of letting up yet.

Lael Neale – All Good Things Will Come To Pass

I will finish this week with a live performance of a track from one of the best albums of the year so far, Lael Neale’s ‘Altogether Stranger’. At the time of release I wrote of this track specifically that it enters with some steam train chugging guitar as the repeatedly sung title line makes for a pure fairground delight of a chorus hook. The juxtaposition of celebration and loss is central to the magic at play in Lael Neale’s music and those elements of light and shade are set to the foreground here to stunning effect. If you are not onto this album yet, or the music of Lael in general then I would suggest that these oversights are rectified at your earliest convenience, why you could even start now with this.

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Old Fruit

Old Fruit 11th July 2025

The Magpie Arc – Autumn Leaves

In anticipation of this weekends Ely Folk Festival, which will be reviewed next week on this site, here are a few anticipated highlights from the line-up over the coming three days. The Magpie Arc are a cross-border folk supergroup featuring Nancy Kerr, Findlay Napier, Tom. A Wright, Alex Hunter and one of the folk movements all time legendary guitarists Martin Simpson (and how great is it to find him playing electric guitar in a group environment?). All I will say is that a band with such pedigree in its line-up winning favourable comparisons to Fairport Conventions ‘Liege & Lief’, after their ‘Glamour In The Grey’ debut album, has got to be worth some time and attention; I shall be watching and listening with interest.

Danny & The Champions Of The World – Sooner Or Later

Heading up an evening of Americana will be this wonderful collective, formed in 2007 after the break up of the band Grand Drive. They are based in London and led by singer-songwriter Danny George Wilson who presides over performances and writing that sail pleasingly close to the soulful and rousing spirits of Bruce Springsteen and Van Morrison. Not only that but their live sets are pretty damn life affirming and committed too so this promises to be a great one.

Fred’s House – Gaslight

One of the standouts among the many interesting local Cambridge acts performing this weekend are Fred’s House. They were formed in 2010 and their numerous releases have seen a gradual shift away from folk-rock origins towards a more pop-friendly sound leading to favourable comparisons to the likes of Fleetwood Mac and Crosby Stills & Nash. As this clip proves, these are likenesses that the band are more than capable of meeting head on, grabbing by the ears and shaking down into an enticing, groove friendly, melodic, song driven cocktail entirely of their own making.

Elly Tree – The Minotaur

Generously sprinkled among the more attention grabbing, rhythm and electricity pumping acts are plenty of traditional acoustic guitar and voice purveyors such as Elly Tree. It is important too that this side of a folk festival is not lost, this is where the roots of it all are found and, personally, I love those summer afternoons when an event such as Ely Folk Festival provides you with a tasty real ale whilst a tuneful troubadour entertains us with folksy story songs as heard here. Elly (real name Helen Woodbridge) is a singer-songwriter based in Ipswich, Suffolk.

Ezio – The Same Mistake

One of the real underground national treasures of the Cambridge scene for more than thirty years now is indisputably Ezio Lunedei, accompanied, as he has been all along, by the guitar shredder extraordinaire Booga. Weirdly, I think his name may have always held him back, you just do not expect such west referencing singer-songwriter mastery to be coming from someone whose name implies their music will be Spanish holiday disco music (or something). Put simply, if a song like ‘The Same Mistake’ were written by a Neil Young or a Mike Scott it would be regarded as a classic piece of melancholic, country-tinged, song writing genius for that is exactly what this is. Furthermore, Ezio has an armoury of similarly fine songs spread across his whole back catalogue.

The Cain Pit – Devil’s Side

Finally for this half dozen festival taster selection I am flagging up some thrilling punky bluegrass action that will be gate crashing the festival proceedings on Saturday night. Heading down from the mean streets of Norwich, the band were formed during the pandemic by cousins Daryl and Scott Blyth before expanding to a five piece. Their distorted blend of frantic banjo picking, double bass thwacking and raw pounding drum beating energy has seen them described as ‘punkgrass’, an appropriately original description for a sound with a thoroughly enticing approach. If you have never got a tattoo, that might change after you see The Cain Pit!

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Fresh Juice

Fresh Juice 7th July 2025

Lois Levin – Sugar

Taken from her new EP ‘Motions’ released on the Baltic Jazz label, this is a lovely soulful ballad to kick off the new music selections this week. Lois has been slow building a catalogue of jazz inflected songs via single and EP releases for a couple of years that started to catch the attention of 6music and Jazz FM radio DJs and deservedly so. She first came to more widespread attention with a version of The Clash’s ‘Should I Stay Or Should I Go’ on the Baltic Jazz ‘Re:Visioned’ album but it is her own evolving, genre-blending music that is most likely to lead to the answer ‘yes’, this is an artist who should definitely stay!

Dutch Interior – Sandcastle Molds

“My sandcastle molds all came without shovels”. Well we’ve all been there haven’t we? This one slipped past me earlier in the year but maybe I needed the summer months for the words to resonate? That is nonsense of course, unlike this song, a rattling, unsettling, shuffle that mixed inside the buoyancy and horn-burst fanfare of the sound is an uncertain melancholy asking the unanswerable questions. For a band that have been labelled “freak Americana” maybe that is the least that you would expect but let there be no doubt, this Los Angeles based collaborative writing collective are coming up with the goods right now.

Ryan Sambol – Friend Of The Show

This one has an unvarnished folksy singer-songwriter feel thanks to the way the harmonica is used as a lead instrument with the acoustic guitars and piano chords being thumped out all around amidst some gripping building of tension. There is a simplistic raw energy to this one, a primitive purity to an instrumental number that would make perfect talk-over intro or outro music for a radio show (I should make a note of that) but is worth a play in its own right anyway. Ryan released this album of the same name back in February, a record that has old-time blues sensibilities, a departure from the garage rock sounds he produced as front man of Texas cult heroes The Strange Boys in the early 2000’s

Stereolab – Aerial Troubles

The return of Stereolab this year has been a most welcome futurist-retro resurrection. As can be heard on this, the first offering from new 13 track album ‘Instant Holograms On Metal Film’ released on Duophonic UHF Disks and Warp Records, their signature groove driven electro adventurism remains switched on to full power. Founder members Tim Gane and Laetitia Sadier have imprinted their creative vision all over this new work which has led to another instalment of an impressive back catalogue with a real clarity of vision and purpose but above all, brilliant bittersweet music that still somehow sounds like no other.

The Flying Hats – Night Bus

It is brand new retro sounds of an altogether different stripe with this one as we enjoy a live studio version of this Flying Hats debut single. With these chilled soulful reggae and Caribbean vibes this has to be an ideal sound for the hot summer weather. It is taken from the bands album ‘The Return Of The Flying Hats’ released on the ATA Records label. The UK based band were formed by drummer Sam Hobbs and bassist Neil Innes, a cooking rhythm section who both have musical history as collaborators in the rootsy Afro-American dance scene.

Kendra Morris – Dear Buddy

So we retain the easy vintage soul textures on this weeks final selection, a jazzier offering and a ballad that carries some proper emotional weight. New York based Kendra has been ploughing this vintage pathway for a good fifteen years or more now, known for a songwriting style that has the grit and bite of real life mainlined into its veins, leading to favourable comparisons to the likes of Amy Winehouse and Sharon Jones. Like these late-greats, she too has an ear for the modern music world to match her old-school leanings, past collaborators include hip-hop collective Czarface but still it seems to be the straight ahead classicist compositions in her catalogue, as felt right here with ‘Dear Buddy’ (a tune from her latest three-song single ‘If I Called You’), that pack the firmest punch.

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Monthly Playlists

July 2025 Playlist

I don’t like cricket… I love it! That was the kind of mood I found myself in when compiling this months 75 track playlist. Put it down to the current heatwave gripping the UK, in conjunction with some delightfully gripping entertainment delivered by our much maligned summer sport, not to mention my laid back ice cold beer in hand disposition I adopted while watching it. Whatever, for one month I have abandoned my regular monthly mission of representing my current new musical discoveries and vinyl hunting obsessions and instead just put together a four and a half hour compilation of excellent summer tunes. Most of them have some summer sun front and centre, in the song titles or the subject matter (there are a good few surf tunes featured, only right as the world lost the genius of Brian Wilson over the past month), whilst there are others that simply have the feel of those hot months in the sound, style and tone. And of course, as this is a Fruit Tree Records playlist, there is some warm weather melancholy to be found amongst these selections too. And if you think there are some glaring omissions, well I just do not care that much for Bryan Adams or Will Smith and I cannot separate the association Mungo Jerry’s ‘In The Summertime’ has with road traffic accidents after it was used in an anti-drink driving advertising campaign years ago. That’s just me I guess, but I back these 75 pieces to work just fine as you pour yourself a tall cool one then kick back and enjoy.

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Old Fruit

Old Fruit 27th June 2025

The Waterboys – When Ye Go Away

As it is Glastonbury weekend I thought it topical to share a few of the Fruit Tree Records Glastonbury favourites from over the years for this weeks vintage selection. The Waterboys are an act whose free flowing, boundary tumbling, questing romantic spirit have summed up the essence of Glastonbury over the decades and they are knitted into the fabric of the festivals history as well as my own back pages with the event. For it was in 1994 (my debut year as a Glastonbury attendee) that Mike Scott roamed the site, his Waterboys band not booked to play as the man himself was about to embark on a solo project gear change, but he made his presence felt all the same by popping up unannounced on at least two occasions playing old Waterboys classics, as here when he played with ex-Waterboy Sharon Shannon on a timeless masterpiece from the ‘Fisherman’s Blues’ album.

Johnny Cash – Folsom Prison Blues

Another 1994 memory, this was probably the seed of the Sunday lunchtime main stage line-up position that would later be branded the ‘legends slot’. I remember clearly dozing with my friends in the Sunday afternoon sun wondering whether to bother sticking around for Johnny Cash then being absolutely floored by the mans sheer stage presence and star aura. I knew little of the man and his music before he came onstage, my musical education was about to get a serious injection.

Nick Cave & The Bad Seeds – Red Right Hand

If bands were to follow a guideline for guaranteed Glastonbury success it might say on page one play a hits set, this is not the place to audience test the new record that has not been released yet. Back in 1998 the current Nick Cave & The Bad Seeds release was a ‘best of’ compilation and so their festival set reflected this, although the legendary status of the performance might also be down to the band being at the very peak of their powers at this time. This would have been the occasion Nick Cave has spoken about where he met Bob Dylan backstage, receiving warm praise from the elder statesman for his musical output. There is no BBC film footage of the Dylan set, the nineties being a time when bigger names could opt out of television coverage.

R.E.M. – It’s The End Of The World As We Know It (And I Feel Fine)

R.E.M. came on the mainstage as headliners in 1999 with a point to prove. Their most recent album ‘Up’ had not performed as well as expected and so the initial statement that there would not be a tour around the album was revised and 1999 saw them return to the stage with punch and purpose. I do not have many memories of being down the front at gigs, my height normally sees me settling for a further back position, but this was one occasion where I felt the moment and was drawn closer to the source. R.E.M. are one of my top three all time favourite bands and this was one Glastonbury headline slot with everything I had hoped for, a legendary band seizing the moment and delivering the goods.

David Bowie – Rebel Rebel

If you were a TV viewer of the festival in the first ten years of TV coverage you were at the mercy of the broadcaster’s choice of stages and acts to cover. The iPlayer control that enables us all to explore and select as we would if attending was some way off and this was never more frustratingly felt, for me, than in 2000 when all us viewers were aware that David Bowie was playing a mouth watering headline slot on the main stage as we tuned in, but the BBC only offered us short excerpts from his set, no direct live broadcast as you would have reasonably expected. Instead they kept cutting to Bassment Jaxx on the other stage, an alternative selection that did not, could not, meet with the viewers expectations. The dance based duo looked like they knew this as well, appearing to be a little too crouched behind their mixing desk as their dancers took care of stage craft and the Jaxxees (as they would later be known thanks to Primal Scream) pepper sprayed us with generic bland dance toss. In the subsequent years Bowie’s set attained a near legendary status, if only the TV audience could have shared in that euphoria live in real time too.

The White Stripes – Hotel Yorba

The excitement that was exploding around the White Stripes at this time is, I think, tangibly captured in this Glastonbury performance of 2002. At a time when indie was starting to head for the landfill and dance was repetitively beating itself into a stupor, it took a stripped back duo playing the electric blues to ignite the scene with something fresh and vital. This TV exposure could have been the first time many in the UK caught a glimpse of Jack and Meg but they were ready to take you down by this stage, no questions asked

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Fresh Juice

Fresh Juice 23rd June 2025

Bruce Springsteen – Repo Man

If there is anyone doubtful that Bruce Springsteen deserves to be mentioned alongside the great writers of the Rock ‘n’ Roll era then this coming week might just press a few of the doubters into submission. He is about to release seven completed albums of previously unreleased, mostly unheard, material at the end of this week and if nothing else, they go a long way to re-writing what now looks like the misconception that Bruce ever really went off the boil or had a quiet patch. His 1990s alone are about to be plunged into a wholesale revision as from what I have heard and judging by the initial reactions he was as inspired and creatively engaged then as at any point in his fifty+ year career. The unreleased albums cover electronic ambience, film soundtrack work as well as out-and-out rockers but the selection I offer up here is upbeat killer country from the record entitled ‘Somewhere North Of Nashville’. I cannot wait for this latest Bruce deep dive on the horizon.

Margo Price – Don’t Let The Bastards Get You Down

I will keep it country with the exciting news that Margo Price, one of the most authentic voices on the US scene these days, has a new album ‘Hard Headed Woman’ out on August 29th. Of this top new tune Margo says “with all that’s going on in the world, I hope this song will be a battle cry for the downtrodden and create unity and action for those facing oppression and hardship”.

James McMurtry – The Black Dog And The Wandering Boy

This is the stand out title track from the new James McMurty album ‘The Black Dog and the Wandering Boy’, which is out now on New West Records. James is widely considered, by those in the know, to be one of the most under-rated songwriters playing in the country-rock scene and that is an opinion that his quietly floating around since the 1980s. Well if he is new to you or this new music prompts a return, this is a fine album to get into so check it out but meantime, the clip featured here is a recent (lo-fi audio quality) live outing.

Kristina Murray – Watchin’ The World Pass Me By

This new laid back, care free and real world baiting cracker is a proper country lament taken from Kristina’s latest album ‘Little Blue’ out now on Normaltown Records. The video leans into some cheesy literal interpretation and is all the better for it, showing an artist not taking herself too seriously whilst delivering a song that under that lush veneer packs a bit of a punch, reflecting as it does on the tough reality of those creatives who have to fight to reach their potential in an industry that can kick down on those less fortunate unable to buy their way in with looks, wealth and the right contacts. Luckily for us, there are still a wealth of artists, like Kristina, who do it for the love of music and creative expression.

Wednesday – Elderberry Wine

The alternative pockets of US country are also alive with promise and talent in 2025. This is especially true of North Carolina rockers Wednesday, led by Karly Hartzman with guitarist MJ Lenderman, bassist Ethan Baechtold, drummer Alan Miller, and pedal steel player Xandy Chelmis, who I was raving about on these pages a couple of years ago after they released the still superb ‘Chosen To Deserve’. Here they are recently making their national television debut in the US and their first airing of new 2025 music.

Ringo Starr – Time On My Hands

And in the end… the best new country album of 2025 might still have been made by Ringo!!!

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Old Fruit

Old Fruit 20th June 2025

Ella Fitzgerald & Louis Armstrong – Summertime

For this week’s half dozen vintage music selections I just had to opt for a summer theme what with the heatwave that is currently bathing the UK in a hot, bright, sticky, perspiring glow. My opening jump back is a jazz standard taken from the Porgy & Bess musical as performed here by a pair of the genres 20th century masters and OK, the video may not sync with the recording but sometimes, as is the case here, the song cannot be omitted simply because I cannot find a bit of film archive.

The Surfaris – Wipe Out

For me the optimum sound of summer, in the same way that the ultimate sound of Christmas will always be heard in the production of Phil Spector’s Christmas album, is surf music. This instrumental from 1963 is one of the best, that wave riding electric guitar twang just does not ring quite the same in the winter months, this is the kind of sizzling hot playing that could send even the non-swimmers out there diving for the rolling waves atop a surf board.

Bedazzled – Summer Song

Back in the 1990s ‘Landfill Indie’ (the necessary catch all term coined by the music press in the 2010’s to lump together all the uninspired guitar posing bands yelping their generic uninspired toss into a bucket) was not a thing, in fact many lower league indie bands were churning out little bittersweet guitar pop nuggets such as this summer-themed gem, from the soon to be forgotten and barely even registering at the time but no less worthy and ripe for rediscovery, Bedazzled.

The Duckworth Lewis Method – The Age Of Revolution

I grew up with the increasingly outdated idea that football was the winter sport and cricket the summer. Now that football has crept into the summer months too these seasonal dividing lines are all but obsolete but cricket remains, in the UK and a few other (but not enough) countries, synonymous with the warmer months. How wonderful was it that a band specifically dedicating their entire musical output in honour of the sport should arrive? Especially as the creative figureheads were supreme songsmiths from other guises, namely the Divine Comedy and the criminally under-rated Pugwash. This is a full and direct inswinger that definitively hits the stumps.

Ben Folds Five – Where’s Summer B?

This one is presented as a lo-fi filmed clip but if you are unfamiliar with the original version on the Ben Folds Five debut album I urge you to check out this aching, Billy Joel style, peach of a song. Sometimes, the juxtaposition of a yearning lyric with a warm summery sound can hit the senses hard, this great summer song is one such example.

Bruce Springsteen – Girls In Their Summer Clothes

It is not as if I was previously unaware but I have to admit, over the past month I have been taking a real deep dive into the masterful songwriting of Bruce Springsteen. I know he is a massive mainstream artist but I do believe he remains a little under-rated, at least in terms of how great a writer and performer he as always been. This summer song is a case in point, rarely listed as one of his classics but how often do pop/rock songs convey in lyric and tone exactly what they want to say as devastating and potently as this? Not often enough, this is one of genuinely hundreds of prefect songs that has risen from the hand of Bruce Springsteen.

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Fresh Juice

Fresh Juice 16th June 2025

Ron Sexsmith – Don’t Lose Sight

Canadian songwriter Ron continues to evolve and refine his craft with another new album called ‘Hangover Terrace’ set for release in August. His music can be as laid back and sleepy sounding as that weary expression he seems to perpetually wear on his face but that should not obscure the fact that his stock is song composition of the highest order. Ron can command the channels interlinking the major and minor keys with a melodic stitching that is deceptively advanced and the end result is frequently a song, such as that heard here, that was waiting for the right artist with enough range and dexterity to pull it into existence; don’t lose sight of the great songsmith’s still in our midst.

BC Camplight – Where You Taking My Baby?

BC Camplight is the performing identity of songwriter Brian Christinzio and he has used this platform to heart-wrenching effect in recent times to produce a piano-led style of confessional indie-rock that seems to delve deep into the mental, emotional and psychological core of his very being. That journey is clearly still unfolding on the new, soon to be released on Bella Union, ‘A Sober Conversation’ album in which, as heard here, among other concerns Brian deals with the trauma of re-connecting to loved ones following therapy brought on by fall outs, lost contacts, misunderstanding and hurt. If all this sounds heavy going though do not turn away, for his flare on the piano and ear for a tune in general make the music of BC Camplight a reliably deep, entertaining and ultimately rewarding experience.

Girl Group – Yay! Saturday

This is taken from Girl Group’s debut EP ‘Think They’re Looking, Let’s Perform’ and is buzzing with the same kind of feminist, hook driven pop energy previously heard from Wet Leg or Lily Allen. They are a relatively new five piece who, on this evidence, are alive with ideas and capable of painting vivid audio pictures that present animated versions of the lives they and their peer groups experience, in this case a long night out that gets messy. It is worth noting too that they are all singers and each member contributes to the writing too, so potentially the ideas will never be in short supply with a well of creative energy like this, there is a lot of promise here.

Night Beats – Behind The Green Door

And the beat goes on with another fine release from an ever dependable name in psych-inflected bluesy rock, Danny Lee Blackwell’s rollin’ and tumblin’ electric circus that is the Night Beats. ‘Behind The Green Door’ is the bands latest single and is out digitally now and on limited 7″ vinyl. Even though the backbone of Night Beats music is always retained, the primitive beats and the ubiquitous green fuzz of the guitar, there is always something different to delight in as well, on this occasion a decidedly Lynch-like panorama and a widescreen cinematic sound that could place this in the soundtrack to some obscure sixties b-movie, if not for the fact that it belongs firmly in the here and now as well.

Kathleen Edwards – 6 O’Clock News

The news that Kathleen Edwards is releasing a new album called ‘Billionaire’ on August 22nd produced by Jason Isbell and Gena Johnson, is very welcome indeed. It is described as harking back to her very first album, ‘Failer,’ with razor sharp lyrical observations and relatable real life tales. Two new songs, ‘Save Your Soul’ and ‘Say Goodbye, Tell No One’ are ready to hear online already and I will get to them soon enough but for now, let’s enjoy this recent live performance of the opening track from that aforementioned brilliant 2003 debut release.

Edith Frost – That’s What It’s Like To Be Lonesome

And to finish things off this week, here is another highly rated artist who has made a return in 2025, but this time it is someone who has ushered herself back into the ring with very little fanfare or hullabaloo. Edith Frost was one of the essential American Singer-songwriters around the start of the 2000’s earning herself deserved comparisons to singers like Elliott Smith but her new album ‘In Space’, which I am going to be checking out for the first time this coming week having only just come across it way below the surface, is her first in nineteen years. Here she is posting on her own YouTube channel a cover version of an old Jean Shepard song and it is as lush and moving as I always recalled Edith to be a couple of decades ago, it feels good to come across her once more.

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Old Fruit

Old Fruit 13th June 2025

Brian Wilson – I Just Wasn’t Made For These Times

How could this weeks vintage selection of tunes be anything other than a toast to those who are gone in 2025 following a handful of days when the world has lost the genius of Brian Wilson and Sly Stone? Brian may have shone brightest in the sixties when he was still in full command of his natural, musically articulate, talent and imagination but that has long since proven to be a light that will never go out, such was the indelible impact of the sounds he created. There were few contemporaries that The Beatles acknowledged a competitive, respectful empathy towards but, alongside Bob Dylan, Brian Wilson was undoubtedly a prime source of peer group inspiration and his loss to the world of music will only begin to be appreciated now the book is finally closed on his life’s work.

Sly & The Family Stone – Dance To The Music

Lost to the world the same week, another iconic performer and visionary whose period at the top of his game was frustratingly brief. However, the fusion of soul and R&B that kicked the doors of funk down to the ground, not to mention the ahead-of-the-game multi-cultural ethos pounded relentlessly by the Sly Stone led Family Stone surely paved the way for everything soul and electro became over the ensuing fifty years; that funky train cannot be stopped and will never be silenced.

Marianne Faithfull – Vagabond Ways

Most of the obituaries for Marianne focused on her orthodoxy shaking breakthrough in the sixties and her not always so clean-cut connections to the Rolling Stones, it is worth remembering however that she never let go of music as a creative, expressive outlet. Indeed on cuts like this one from 1999, she did a lot to reinforce her perceived public image with songs of this ilk that only served to add to the legend.

Max Romeo – Wet Dream

Arguably the greatest thing about Max Romeo’s classic ‘Wet Dream’ from 1969 was Max’s attempts to explain the clean, innocent meaning of the song years later. You see, according to Max the song had nothing to do with sex and the chorus line “lie down girl let me push it up, push it up” were merely an instruction to his female companion to take cover while he pushed his finger to the ceiling to repair a leaking roof. I’m in full agreement with Max, the song could have been about no other scenario.

Roberta Flack – Compared To What

Her two massive hits ‘Killing Me Softly With His Song’ and ‘The First Time Ever I Saw Your Face’ quite rightly dominated the reverential chat and legacy surrounding Roberta but there was a lot more to admire in this piano pounding, gospel infused, soul powerhouse as this clip of her tearing into the opening track on her debut album surely attests.

Bill Fay – The Never Ending Happening

Bill received a welcome and deserved late career resurrection in which his mellow, richly detailed songwriting enjoyed a 21st century renaissance, a second coming that is all to rare in the music industry. That said, he remains one of the big names among the record collecting community thanks to the scarcity and £100+ rated value of his 1967 Deram label b-side ‘Screams In The Ears’ which has enough timelessness to indelibly stand as one of the essential slices of freakbeat period British psychedelia.

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