Review Date: October 29, 2011 Review By: Sean Marsh Location: The Sage, Gateshead Nearly four years after I last saw them, the Rhythm Kings were back in North East England. Two hours of high-class musical entertainment followed. The show started promptly at 7.30pm. There was no support act. Bill Wyman was the first person to arrive on the stage and was greeted by a call of: “Happy Birthday!’ from a member of the audience (he had turned 75 five days before the concert). Bill explained the ethos of the Rhythm Kings: “We do a mixture of music, we play some jazz, blues, soul, rock and roll music … and we just have fun, that’s why it’s all about, that’s why we’re here … so have fun with us and it’ll be a great night.’ Then he introduced the band, one by one, until the stage was packed with personnel. Seven of the nine were to take a turn as lead vocalist before the evening was through. The first few songs all featured different singers. Georgie Fame sang on Good To Me and this was swiftly followed by Jitterbug Boogie (Albert Lee); Tell Mama (Beverley Skeete); Too Late (Terry Taylor, complete with virtuoso harmonica from Frank Mead) and Man Smart, Woman Smarter (Geraint Watkins). Quite remarkable! Then it was back to Georgie for Three Cool Cats, featuring some fine saxophone interplay from Nick Payne and Frank Mead. A special guest was then announced-Mary Wilson, original member of the Supremes, who sang the classics Baby Love and Stop In The Name Of Love, followed by a duet with Georgie on Stormy Weather. Mary left the stage with a promise to return in the second half. Four more songs followed before the interval, namely Mule Skinner Blues (Albert on vocals), I’ll Be Satisfied (Beverley), It’s Raining (Geraint) and then Bill at last took a turn, on Chuck Berry’s You Never Can Tell. After the first hour, there was a 20-minute interval. The second half started with Beverley on a slow-burning This Is A Man’s World. Geraint was next up with 300 Pounds Of Heavenly Joy . He prefaced it with an in-joke at Bill’s expense: “Some of you, of course, might be still working in stones…’ Albert Lee was then unleashed again to pick up the pace on Race With The Devil, followed by Georgie Fame announcing: “… the oldest song in the programme tonight-suggested by Bill Wyman …’ which turned out to be Just For A Thrill. Back to Beverley for I Just Want To Make Love To You and then Frank Mead stepped forward to blast out a stirring Sugar Bell. Frank was on great form on the harmonica between verses too. Just two of the band didn’t get an opportunity to take the lead vocals; one was Nick Payne and the other was drummer Graham Broad (although both helped out on the backing vocals from time to time). Mary Wilson returned to sing Can’t Hurry Love followed by Don’t Know Why and Green River. Then, after That Is Rock And Roll, Frank’s tapping on the cowbell heralded Honky Tonk Women, sung by Bill, after which the second half of the show drew to a close (although there was still the encore to come, of course). Albert took to the keyboards and shared duet vocals with Beverley on So Sad accompanied only by Terry Taylor on guitar, before the rest of the band re-emerged. This included Mary Wilson, who finished the show with a terrific Dancing In The Street. Terrific entertainment. Find out more at www.billwyman.com

Review Date: February 17, 2012 Review By: David Knowles Location: Arts and Leisure Centre Stevenage Having only heard of this group just two weeks before the show after seeing a tour advert in a national newspaper, then checking them out on YouTube, reviewing their latest CD WITH A TWIST, to taking a drive out to Hertfordshire with my wife to catch them in concert … that is how good they are and how much of an impact their music had on me. As always I ended up chatting to people at the concert and quite a few had seen them as a support to Barry Manilow, prompting them to book to see SNC on their first UK headline tour, as once again, they were that good! Entering the stage to massive applause this American a cappella group went straight into the Temptations’ soul classic “Get Ready,” driving the audience to tapping their feet and moving in their seats right from the off. The medley of “I’m Yours/Somewhere Over The Rainbow” quickly followed, sending a nice warmth through the hearts and souls of everyone present. Normally a ten-piece group but on this UK tour they were without Don Nottingham, but the nine consisting of Charlie Mechling, Seggie Isho, David Roberts, Tyler Trepp, Jerome Collins, Ryan Ahlwardt, Randy Stine, Walter Chase and Michael Luginbill put on an amazing and in fact quite awesome performance. Tenor 2 Jerome took lead vocals on Marvin Gaye’s “Let’s Get It On” that had everyone awestruck at the superb harmonies. It was then the turn of tenor 1 Ryan to take the singing range up even higher on the fun tune “The Lion Sleeps Tonight.” The singing baton was then passed to the bass singers, with Randy opening the beat to Carole King’s “Hi De Ho” leading into the lead vocals from fellow bass singer Charlie, alongside two tenors, Walter and Tyler, the harmonies were again out of this world and the song ended with Charlie singing as low as he could go…Amazing! Normally with medleys you have two or more songs put together, with one sliding into the next, but with these guys the medley songs are fused together so that at times you have two songs being sung at the same time but to the same tune, absolutely brilliant. They did an entertaining medley of Beatles and Rolling Stones, mixed the Bee Gees “Staying Alive” with Stevie Wonder’s “Superstition” which also had a fabulous dance routine, as did the Michael Jackson medley of “Billie Jean/Poison” with Jerome doing all the Jacko moves, as well as throwing in full splits to top it off. The harmonies on the Jersey Boys’ medley were top class, with Tyler taking a superb lead. They even took on a mix of Cee Lo Green’s “Forget You” and Lady Gaga’s “Bad Romance,” dance moves and all, to the total delight of the audience. They sang the slower songs beautifully, with Michael taking on Madonna’s “Like A Prayer” and winning. A gorgeous version of “Bridge Over Troubled Water,” Coldplay’s “Fix You” was just a charm and Jerome proved to me how good a song “Wonderwall” actually is. With “Tainted Love” being a real pleaser for all the fans as it had all nine standing in a row along the front of the stage as they nailed the song brilliantly. They brought the night to a close, encoring with the song that made all this possible. Back in 2006 Randy Stine posted clips from a 1998 concert on YouTube and this particular one was viewed more than seven million times in 2007 alone. Although this was February the song in question was a special comic version of “The 12 Days Of Christmas” incorporating Toto’s “Africa,” as with all the YouTube fans the whole audience at the Arts and Leisure Centre also loved it and were rolling in their seats with laughter, what a perfect way to end such an entertaining and totally enjoyable evening. Who needs musical instruments when you have nine voices as good as these guys? Just by word of mouth they will pick up more and more fans each time they tour, in fact I emailed a friend after this concert and he then went to the London gig the next night and had a great time, so why not check out their website below and see what all the fuss is about. Find out more at www.sncmusic.com

Review Date September 20, 2012 Review By David Knowles Location Gibson Guitar Studio, London This was a very special album launch for press and a few lucky fans who won tickets to see Scottish blues singer-songwriter and multi-instrumentalist, Sandi Thom. Food and drink was laid on for all to partake in, although the beer ran out halfway through the show, to which Sandi joked that her band and especially her mum had probably drunk most of it before the audience were even allowed in. Sandi had her full band on stage with her as she performed a 45-minute set of songs from her new album, FLESH AND BLOOD. Starting strongly with the heated and raging “Help Me” with Sandi’s voice in superb form, plus she also played some exquisite blues harp. She kept her foot on the gas for the fiercely commanding “Stormy Weather” on which her voice came at you like a hurricane, accompanied by the tornado whipped up by her own signature series of harmonica. The pace dropped slightly as Sandi turned more gentle on the gorgeous “Big Ones Get Away” from the pen of Buffy Sainte Marie. Buffy sings it with Sandi on the album but on the night the duet was performed wonderfully with her backing singer. Some fine slide guitar complemented Sandi’s own acoustic guitar playing and preaching vocals on the sermonising “Rise As One.” She then sang possibly my favourite song on the album, “I Owe You Zero.” The song is a dig at all the people who have tried to put her down, hold her back and generally get in her way-this is Sandi telling them that they don’t know her at all. Her vocals start softly but then build to a climactic crescendo with scything guitar and crashing drums; an absolute gem of a song. The breezy “Sun Comes Crashing Down” was followed by the title tune “Flesh And Blood” with Sandi playing a Gibson Les Paul 12-string electric guitar, making her the envy of all the wannabe guitarists in the crowd. Most of the band then left the stage, just leaving one band member on acoustic guitar to accompany Sandi’s enchanting vocals on the endearing “I Love You Like A Lunatic,” about her relationship with boyfriend, Joe Bonamassa. The rest of the band then came back out as Sandi finished with “Lay Your Burden Down,” all about letting go of the past and all the pains that came with it. Although Sandi was doing another gig at the 12-Bar Club at 10.30pm, she still came out and chatted to people before she left. Sandi Thom is a genuinely nice and very lovely person and a terrific singer, musician and songwriter. Hopefully this new album will finally open all the doors needed for her to get the fame she deserves. Personally I can say that both my brother Steve and myself came away from Gibson’s knowing that we had seen a great gig. Find out more at

Review Date May 12, 2012 Review By Alan Harrison Location Sunderland Minster I love discovering new venues but never in my wildest dreams did I expect to see a gig in a Church; but with the lack of mid sized concert halls in Sunderland the curators of the Minster in the city centre have volunteered to put on some acoustic concerts across the Summer. Opening act; Indie band Arbeia suffered from a tiny PA that was cranked up to 11 which meant that their “sound’ got lost in the cavernous rafters of the ornate building; but from what I could make out they sounded a bit like a Coldplay 45rpm record being played at 33. Not a great start to the evening. After buying beer and cakes we took our pew for a drums and guitar duo called Reckoner; who actually looked incredibly earnest but actually had tunes; but they too got lost somewhere in the midst of the muddy sound coming out of the speakers. By the time Natasha Haws strode onto stage the small stage was lit up with 100 assorted candles and the stained glass window in the knave, behind her made for a beautiful backdrop for the teenage singer. Her first song was called “Transatlantic” about a long distance relationship that’s not really working and her soft, almost whispered tones floated around the Gothic building like Angels wings. Natasha’s next song was the achingly beautiful “New Year” which was what first drew her to my attention last December, on a Charity Xmas CD produced by a local collective of musicians and tonight; together with the story behind the song, it visibly touched every heart in the 200 plus audience. Midway through the short set, Miss Haws introduced her best friend and musical Mentor Martin Longstaff aka The Lake Poets who joined her for two love songs that were drenched in atmospheric harmonies and some achingly good harmonica playing. My favourite song from Natasha’s EP-“Constant Fairytale” is about her young brother who suffered seizures and fits until a recent operation; but even without knowing the back story it truly is a brilliant song and when the teenager burst into tears at the final note every person in the building wanted to give her a great big hug. Another delight was when Nat “went electric;’ well, not exactly “electric’ but tonight Stranger was intricately strummed on a Fender Jaguar and the single snare drum backbeat created a vaguely Native American backing to a charming song. Then it all went pear shaped. Natasha’s simple acoustic sound had been perfect for the tiny PA all night so my heart went out to her when her guitar lead decided to stop working just as she introduced her final song and current single “Stepping Stone.” An array of young men scurried around trying to fix the problem; leaving the young singer to laugh and joke with friends and family until a spare guitar was eventually produced. What a trouper what a star! When it finally came; “Stepping Stone;” (about a callous youth dumping her); was well worth the ten minute wait and deserved every second of the standing ovation it and a teary Natasha received as it ended. Find out more at

Review Date February 17, 2013 Review By John Roffey Location Pavilion Arts Centre, Buxton On the third date of a month long UK tour and with a new album due for release the following day, it was no surprise that Heidi Talbot showcased ANGELS WITHOUT WINGS, her fourth solo effort whilst also delving into her back catalogue of critically acclaimed albums to enthral an impeccably behaved full house. Hailing from County Kildare, the former Cherish the Ladies lead singer possesses a voice to die for and which could only be enhanced with the support of multi-instrumentalist and producer John McCusker, and the inimitable guitar playing of Ian Carr. Equally at home singing love ballads, sea shanties or traditional Irish music, it’s no surprise that she’s been nominated for two BBC folk awards and can attract the likes of Mark Knopfler, Jerry Douglas, Richard Bennett and Boo Hewerdine to contribute to the latest album. Heidi opened with “Grace Darling,” included in her EP of superfluous tracks MY SISTER THE MOON. Almost immediately she had the audience singing the chorus: “Haul away, haul away,’ before launching into “The Shepherd Lad,” a traditional folk story of a maiden caught swimming “in the clothes she was born in.’ A proposal of marriage is forthcoming but the outcome is of course, predictable! Then it was time for a love story with the beautiful “Start It All Over Again,” “Dearest Johnny” and the terrific “Button Up” about a tornado. A sea shanty, “Sally Brown” and the gorgeous love song “The Loneliest” led us into the break with another audience sing-along, “Music Tree.” “Bedlam Boys” and Tom Waits’ “Time,” both from the 2008 offering IN LOVE & LIGHT got the second set off to a fine start before John and Ian took over with a medley of instrumentals; a new (as yet untitled) tune, “Margaret Ann’s Silver Wedding Anniversary” and “Billy’s Reel” written for comedian Billy Connolly. Another love story “Wine And Roses,” Boo Hewerdine’s title track “Angels Without Wings,” “My Sister The Moon” and all too soon it was time for the final number of the evening, the up-tempo “Everything.” After prolonged applause and much stamping of feet, an encore was inevitable and Heidi returned to deliver a wonderful version of Sandy Denny’s appropriately titled “At the End of the Day.” What a superb evening! Naturally a stock of the new album was available for sale “not to be opened until tomorrow,’ and business was booming on the merchandise counter as Heidi appeared quickly to chat and sign autographs. Anyone not familiar with Heidi’s music and who likes their folk music in easy listening style should check out her albums or catch one of her shows. You won’t be disappointed. Find out more at 

Review Date February 13, 2013 Review By Nick Dalton Location Slaughtered Lamb, London It was like the dress-down reception after the wedding, a warm pub cellar bar with plenty of sofas and plenty of friends all having a good time. My Darling Clementine is the award-winning country-couple project of Michael Weston King and Lou Dalgleish and the real life couple usually appear in wedding dress (her, obviously) and sharp suit. At other venues (one a church, the other the Union Chapel) they walked down the aisle to the stage; here, in more casual attire, they simply edged past the packed bar. But the music was the same, a classic collection of modern-day, self-penned duets backed by a sublime band. And, just as at any reception, the sense of a new beginning. My Darling Clementine’s album HOW DO YOU PLEAD? was always going to be a difficult one to follow, yet the lovely couple have managed it with a new set-tentatively called UNHAPPILY EVER AFTER, recorded at the studio where music trendsetter Richard Hawley makes his music, with his band and guests including Kinky Friedman and the Brodsky Quartet-which they previewed here. The cracking rocker “Leave The Good Book On The Shelf,” the tearjerker “I No Longer Take Pride” (mostly a Weston King tale of woe with Dalgleish coming in for a final verse) and “There’s No Heart In This Heartache” all suggest that far from a couple who’ve taken things as far they can go, they’ve actually got a new spring in their step. The band-Martin Belmont on twanging bass lead guitar, Alan Cook on classy pedal steel, Liam Grundy providing honky-tonk piano, and bassist Kevin Foster and drummer Neil Bullock providing a tight rhythm-have become tighter yet more fluid in the 18 months that they’ve been together. Aside from the new stuff there was the bulk of the debut album-“I Bought Some Roses” (that has developed a rip-roaring rockabilly edge), the country-rock of “1,000 Words,” the sadness of “Nothing Left To Say,” the hope of “Reserved For Me And You” and the gentle rocking of “Going Back To Memphis.” And, just to turn things on their head, a “real’ song from the past, the Johnny Cash and June Carter ode to togetherness, “”Cause I Love You.” The honeymoon is far from over for My Darling Clementine as they start to rock America and with the new record out in the summer, catch them now before they’re playing in cathedral-sized venues. Photo credit: Richard Thorpe Find out more at