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It’s been a while since Brandy Clark released new music, but that didn’t stop her packing out the Shepherd’s Bush Empire on her return to the UK. Suiting Clark’s storytelling nature, the venue was fully seated — the first time I’ve seen the Shepherd’s Bush ground floor decked out with seats rather than standing room. This set the tone for the evening; a brilliantly fun, but sedentary affair. Support came in the form of Kyle Daniel, an American, Chris Stapleton-esque musician who performed alongside his guitarist and backing-vocalist, Seth Rentfrow. Standout songs from his set wereSomewhere In Between and Landline. Brandy started her set with Girl Next Door, a popular track off her 2016 album, ‘Big Day In A Small Town’. This was followed by a number of other well-known tracks, forming the first segment of the show. Clark’s set can be easily broken down into four clear segments. This first part included crowd favourites such as Love Can Go To Hell, Get High and You’re Drunk. Get High got a particularly warm reaction from the London crowd, with cheers before she even started singing. The next segment of the show saw Clark introducing fresh, new music from her upcoming album, which will be dropping early next year. The first track she played off this new record was Love Is Fire, followed by what may well be called At The Bottom Of The Ocean, though the actual track name may be different. The latter was typical of Clark’s wit and made me very excited for the rest of the album. It was at this point in the night that Clark’s band left the stage, leaving her to perform a few acoustic numbers, including the brilliant Bigger Boat. She introduced this track, also a new one, describing how it was originally inspired by her favourite film, Jaws. The song, however, addresses the state of today’s political climate in a refreshing and clever way. The song serves as another reminder of Clark’s incredible talents as a witty and relatable songwriter. The third section of the show was described by Clark as the ‘songs she wishes she’d written’ segment. She kicked this off with a cover of George Strait’s The Chair. This was followed by Carole King’s Will You Love Me Tomorrow? and Linda Ronstadt’s Blue Bayou. The fourth and final section of the show made a return to Clark’s well-known and well-loved tracks. Daughter, her “kinder, sweeter, longer-lasting sort of revenge” song, got the expected cheers from the audience. Hold My Hand came next, with its heartfelt story, followed by perhaps Clark’s most popular single, Stripes. With the whole crowd singing along, this was a perfect choice of final song, or at least the last before the encore. Clark came back on to perform one last number: Three Kids No Husband– a quieter choice for an encore, but clearly a popular song among the audience. This was an intimate and enjoyable show, filled with Clark’s wit and storytelling. Now we just have to wait for the New Year to hear the new album – I’m sure it’ll be worth the wait! Danielle Smith

With support from American singer-songwriter Tyler Rich, Striking Matches made a triumphant return to the UK during Country Music Week. Playing Islington’s The Garage, Justin and Sarah described how playing in London was like ‘coming home’ – and they were welcomed with open arms. Opening with one of their long guitar riffs that they have come to be known for, they segued into their first track of the night, Retrograde. This song, like most they played, was almost double the length of the recorded track, with both Justin and Sarah breaking into guitar solos throughout each one. While somewhat indulgent, these long instrumental breaks are exactly what Striking Matches’ fans have come to expect and love – and it was clear they were more than happy to be indulged. The duo have recently released the first of three EPs in their ‘Morning, Noon, and Night’ series. Playing a number of tracks from ‘Morning’ throughout the show, the pair promised ‘Noon’ would be coming out early next year. Burning Down was the first they played from this EP, followed by Don’t Hold Back later on in the set. Burning Down, in particular, was a highlight of the night. While the pair opened with both on electric guitars, the majority of the night was spent with them each playing an electro-acoustic, showing off their intricate and masterful talents even more. One key song to really show off their incredible guitar skills was the undeniable crowd favourite, Trouble Is As Trouble Does, from their debut album, ‘Nothing But The Silence’. Another from this album was Make A Liar Out Of Me, with Sarah Zimmermann going crazy on the slide guitar at the end – arguably one of the prime reasons Striking Matches’ shows are so popular; seeing anyone display such mastery over their instruments is astounding. Breaking from the energetic instrumentals for a moment, Justin introduced the next song, Every Word, telling the crowd how his 90-year-old grandad is currently very unwell. By the end of this emotional song, Zimmermann was in tears, with Justin also showing his emotion, before he thanked the crowd for letting them be so raw. Keeping in line with the more stripped back songs, When The Right One Comes Along was another guaranteed crowd pleaser, with what seemed like the whole venue singing along throughout. Ending the night with an encore of I Ain’t Leaving Without Your Love, there were shouts from the crowd of “you’ve already got all our love”, indicating the passion this dedicated groups of fans has for the duo. And it’s fair to say the love is mutual, with Justin declaring: “this is our favourite place to play in the world”. Danielle Smith Striking Matches played: Retrograde Medicine Burning Down Trouble Is As Trouble Does He Only Loves Me When It’s Raining Don’t Hold Back Make a Liar Out of Me Every Word While My Guitar Gently Weeps (The Beatles cover) When the Right One Comes Along Cross Road Blues (Robert Johnson cover) Desire ——————————————————————– I Ain’t Leaving Without Your Love

The first wave of announcements has been made for Black Deer Festival 2020, with Wilco being revealed as the first headliner. Early bird tickets are available here. The booking is a South of England exclusive and the group will be performing songs from their recent album ‘Ode to Joy’ at Eridge Park, with the festival taking place between June 19-21. 13 other acts were announced for the festival alongside Wilco, with The Waterboys also being announced for the festival, while The Dead South return after stellar showings at 2019’s event. Grammy nominated folk duo The Milk Carton Kids are also on the bill, fresh from opening for Mumford & Sons earlier this year, while Courtney Marie Andrews is set to perform as well. The Felice Brothers, The Secret Sisters, Jack Broadbent, Irish Mythen, Madison Violet, The East Pointers, Midnight Skyracer, Amy Montgomery and Native Harrow make up the rest of the first wave announcement. Speaking about the line-up, founders of the festival Gill Tee and Debs Shilling spoke of their excitement in a statement and said that they hope to repay the loyalty shown by their fans with another special year. “We’re both so excited to reveal the first set of artists for Black Deer 2020,” they said. “We’ve listened closely to the passionate Black Deer audience and are proud to be bringing them not only the artists they already love, but artists they’re going to love. “The loyalty our fans have shown us is just incredible and we’d like to thank everyone who bought a ticket without even a single name being announced! “Heading into our third year, there’s an ever-growing sense that we’re building something very special and our team are working hard to deliver the best Black Deer Festival yet.”

Megan O’Neill has released a new single in the shape of Rootless, which will be the first from her as of yet untitled fourth studio album. You can listen to the track here. The album is set for release in mid 2020 and has been produced by O’Neill’s long-time collaborators in The Dunwells, while the song was written when the Irish artist was living in London and felt like she had no desire to stay forever. Speaking about the song, which was played at C2C 2019 to a great reception, O’Neill believes that we all need to get away from life sometimes, though she believes that as she’s grown up, she’s realised how much she appreciates her homeland. “I think we can all relate to the feeling of sometimes wanting to pack a bag and run away and that’s not necessarily a bad thing,” O’Neill said. “Sometimes we need that escape from reality and everyday life. I love Ireland and I do feel a strong connection with it on every level – especially as I’ve gotten older”. It’s been an eventful 2019 for O’Neill, who as well as performing at C2C and the inaugural British Country Music Festival, has also toured with Sir Tom Jones.

Introducing Nashville: Danielle Bradbery, Travis Denning, Walker Hayes and Rachel Wammack Cadogan Hall, London – October 21, 2019 The starting gun for C2C 2020 at which the line-up was announced and a sell-out show that was effectively a sampler, songwriter circle-style, of what modern Nashville offers. That’s Travis Denning in leather jacket and baseball cap talking about drinking (and singing songs about it), clean cut Walker Hayes talking about his family (and singing songs about them), Rachel Wammack at the grand piano with songs of angst and Danielle Bradbery showing why she won TV talent show The Voice, singing songs of empowerment. There were five rounds – but only of songs, not drinks. Wammack kicked things off, curiously, with Closure, from her debut album ‘Enough’ and from then on, it’s a mix of styles, hits and favourites – not least Denning’s playful tune about driving licence theft, David Ashley Parker From Powder Springs, Bradbery’s soaring Sway and What Are We Doing (written with Thomas Rhett), Hayes’ family opus Leila’s Stars… What’s always baffling with these things is the amount of time the artists simply spend watching ach other. Wammack sang five songs at her piano, played on one other and spent the rest of the two-hour show with hands clasped around her thigh-high green Aquaman boots. Given that this was part of a tour, not a one-off show, one would think (and hope) they’d be in and out of each other’s music hoping to hit upon a Crosby, Stills, Nashville and Young-style supergroup. Still, it’s chatty and it’s fun with perhaps Denning being top scorer if it had been a TV reality show itself, particularly with his off-kilter view on relationships, Abby (Any Body But You), rocking and rolling on his bar stool – and even with an electronic bass drum pedal, so unlike the country singers of old. Bradbery finishes things off with her hit Worth It and with a wave they’re gone. Encore? No siree… Nick Dalton

The first wave of announcements for C2C 2020 have been revealed and Luke Combs, Eric Church and Darius Rucker will be headlining the event. Church returns to headline the festival for the first time in four years, while for Combs, the news emphasises further his meteoric rise in the country music world as it was only at C2C 2018 that he was the opener on the Main Stage. Rucker will also be topping the bill for the first time, having sub-headlined in 2013 and 2017. Elsewhere on the line-up, Brett Young and Old Dominion return to the Main Stage – though Young will get his first chance at performing on the London Main Stage – while Charles Esten and Runaway June have been bumped up to the top tier, the latter of which shining on the Spotlight Stage earlier this year. There are also C2C debuts for Jordan Davis, The Cadillac Three and Tanya Tucker, while Abby Anderson, Eric Paslay and Tenille Townes will be part of a Main Stage opening slot as part of Introducing Nashville. For London, the Friday headliner will be Church, while Rucker closes the Saturday and Combs rounds off the festival. For Scotland, it’ll be Combs, Church and Rucker, while in Ireland, it’ll be Rucker, Combs and Church. Tickets will go on sale for C2C 2020 at 10am on November 1 – London tickets will be available here, Ireland tickets here and Scotland tickets here.

Sarah Darling has treated fans to a studio version of her take on Leave the Pieces by The Wreckers ahead of her upcoming acoustic album. You can listen to the track here. The album itself doesn’t have a release date thus far, but it does have a name in ‘Campfire Sessions’ and will contain a number of songs that will be familiar to the wider audience. Speaking about why she chose to cover the song – and indeed, release it first, Darling said that it was a song that completely took her by storm when she first heard it and on top of that, someone very close to her was behind the track. “I was a young singer/songwriter in Nashville, playing every writer’s round,” Darling said. “I remember hearing this track and just being blown away. It’s an infectious song about heartbreak, mixed with girl power – not to mention that one of my great friends, Billy Austin, wrote it.” Darling will be in the UK fairly soon for a special performance, as she will be playing at Union Chapel in London on December 2.

UK country pop trio The Adelaides have released new single I’d Do it Again just ahead of their upcoming tour with ‘Nashville’ star Charles Esten. You can listen to the song here. Speaking about the song, the band said in a statement that they are ecstatic to finally get the song out in the open and also opened up on what the track is actually about. “We’re so happy to make this track available,” the group said. “Recording it in Nashville with an incredible live band really gave the song the drama we had in mind for it. I’d Do It Again is about falling in love with the wrong person and what happens when, just as you knew it would, everything starts to go wrong.” It’s been a very hectic 2019 for the trio – comprised of Abi Phillips, Paris Georgia and Alicia Alba – who released Good Love and Leave earlier this year, while they have also performed at C2C, CMA Fest, Millport Country Music Festival and The British Country Music Festival. Now, they are set to support Esten on his upcoming UK dates, which includes a date at the fabled Royal Albert Hall as part of Country Music Week and a homecoming gig for the girls with a night in Birmingham planned. The Adelaides will be playing: October 19 – Bridgewater Hall, Manchester, England* October 20 – Barrowlands, Glasgow, Scotland* October 21 – Ulster Hall, Belfast, Northern Ireland* October 23 – Sage, Gateshead, England* October 24 – O2 Institute, Birmingham, England* October 25 – O2 Academy Bristol, Bristol, England* October 27 – Royal Albert Hall, London, England*^ *supporting Charles Esten ^part of Country Music Week

Rising UK artist Hannah Paris has released a new single in the shape of Lost in the Wind, which comes hot on the heels of her previous release, Crazy for You. You can listen to the new song here. The song is a massive departure from Crazy to You from a lyrical aspect, in that it reflects the other side of a relationship as opposed to the strong feelings you encounter when things are going well. Speaking about the song, Paris explained that it sums up how hard it can be to let go, even though you know it is probably the best thing to do, while the song title itself works as a metaphor for floating around without aim. “The song is about a relationship that has gone sour – both parties know this, but it drifts along,” Paris said. “The signs to move on are very strong, but the long relationship has built up history that is hard to let go. “Ultimately, it’s going to end in tears and I think many people can relate to these feelings. Lost in the Wind is a metaphor for aimlessly blowing one way and then the other – a total loss of direction or decision making, even when you know things are not right.” Essex based Paris has had a busy 2019 and has been on the live circuit with regular frequency, including festival slots at Dixie Fields and Buckle & Boots.