Caught Live: Saint Agnes, Studio2 Liverpool 1st March 2018

Another band I’d only heard of days before this show – having found out about this band, and the gig via a Facebook post, once again the decision was made to check them out after the now-familiar ‘youtube test’. That gave me the impression of a heavy rock band with a blues base, but strong psychedelic tendencies. Enough to pique my interest, then! The weather didn’t help matters though, as the so-called ‘Beast From The East’ reached even our part of the world. It didn’t bring as much snow as it did to other parts of the country but the wind chill, allied to icy conditions out on the road would have persuaded people to stay indoors.

Studio2 seems to be heading back towards hosting more rock-orientated gigs again, after a spell when its focus was more towards jazz. With a good stage and floor offering decent sight lines, it would be good for several bands I follow who have been looking for a suitable venue to play in Liverpool. This evening however, I got in to find a band already on with what appeared to be an encouraging number there. It turned out that this was a four-band bill, with three local support acts and that the other people were mostly friends and family of the other bands! Not that I was aware of that while Widnes trio Strangers went through their paces. The best asset of this band was their bass player, who gave numerous tasty fills and even got a ‘lead bass’ solo in their last number! The material was a bit indie, a bit ‘XS Manchester’ for my taste, though they did play well.

Next band probably should have opened proceedings; The Auxiliary are a youthful quintet and ran through a series of covers with one of their own included. I’ll give them credit for guts, opening with Metallica’s ‘For Whom The Bell Tolls’ and for their singer, who despite looking a little reserved and staring at the floor rather than the audience, put a lot of effort into his performance. This will sound weird coming from a devoted Metalhead, but this band could improve things straight away if they just dialled back on the distortion a bit! Their cover of Radiohead’s ‘Creep’ was drowned in distorted guitar, even during the quiet verses thus rendering the ‘crunches’ leading into the chorus ineffective. The one cover that worked well was their take on ‘Breed’, it did come close to the Nirvana sound. Their original track, the name of which escapes me, was reminiscent of Oasis circa ‘Definitely Maybe’ because of that domineering distortion pedal. They have plenty of room for improvement but also plenty of time TO improve.

Third band up was Salvador who also hail from the surrounding areas; the quartet  played original material but sounded typically indie to these ears. They weren’t anything like as distorted, which was a relief (!) but their songs didn’t latch in my brain, a decent live band but not my cup of tea.

While the supports were playing there was a lot of activity as the previous band was loading out, by the time Saint Agnes had set up and were ready to play the place had almost become deserted! Only a handful remained as the four-piece came on to a flurry of dry ice (we had plenty of real ice outside, there was no need!) and opened with their single ‘Merry Mother Of God Go Round’. Straight away they had something different going on, with vocals from singer/guitarist/keyboardist Kitty Arabella Austen and also from guitarist Jon Tufnell (presumably no relation!) Their sound is powerful, fuzzy, sludgy and has that ‘edge’ which marks them out as unlike most others out there. Frontwoman Kitty flits between instruments constantly, but still has that sensual allure that holds the attention. There’s a clear Zeppelin, or even a clear Sabbath influence in there, particularly in the rhythm section where they have a drummer in Andy Head who hits like he means it, and bassist Ben Chernett whose bass tones reminded me of Geezer in places.  Their set included a reworked, darker cover of The Doors’ ‘Roadhouse Blues’ – if you were hoping for ‘the jig’ similar to how Quo used to do when they covered this song, forget it! 😀

This was a mightily impressive performance from a band about whom I had never heard about until this week, and I will definitely look out for these again. At the time of writing they are due to play in Chester on the 3rd March, and if possible I’ll get along. An exciting live band I look forward to seeing more from in the future.

4 - deserving

4 – Deserving


Saint Agnes Facebook Page

Salvador Facebook Page

Strangers Facebook Page


Caught Live: Dan Reed & Danny Vaughn, Live Rooms Chester 27th February 2018

Dan Reed clearly doesn’t believe in the ‘One Steve Limit‘ rule as described by TV Tropes; in short that is a convention where a group cannot contain two people or more with the same first name. In his regular band Dan Reed Network he has drummer Dan Pred of course, and with this tour he has once again teamed up with Tyketto’s Danny Vaughn for the third run of acoustic dates that they dubbed ‘Snake Oil & Harmony’.

The first time these two frontmen paired up was three years ago and back then they both admitted that they didn’t quite know what would happen. I saw them in Liverpool on that tour, before an audience best described as ‘exclusive’ but it was a truly special night, both guys accompanied by just acoustic guitars and performing a selection of songs from each others’ past, both well-known and not so.  What that also showed me was what a great performer Dan Reed is. I was never a fan of the Network ‘back in the day’, and it took seeing him play in this format to open my eyes/ears to what he has to offer.

This show in Chester was pretty much the same formula with the stage at the main hall in the Live Rooms having just two chairs and mikes on stands. The two Dans came on stage at around 8:30 to an audience of around 100, the show took place during a cold snap which saw the country once again slither to a halt at the sight of some snow. We’re often ridiculed whenever that happens in the UK, which is a subject for another day and probably another blog (!) but suffice to say, our weather is so unpredictable that preparing for such events is a gamble.  As a result, several fans from more remote areas (especially in the North Wales region) who were planning to come didn’t, as their areas were snowed in.  It was cold on the stage too, with Danny Vaughn joking that he was now of that age where he could come on wearing ‘a cardi’. (He’s picked up a fair amount of British slang, since he spends so much time here!)  They took it in turns, with Dan Reed going first with his own song ‘Smile’. A surprise was that ‘Rainbow Child’ came early in the set, one of the Network’s best-loved songs and one I might have expected to be saved for later in the evening. Danny Vaughn’s material covered old and new too, with several tracks from the last Tyketto album ‘Reach’ being performed.

As on the previous occasion there was a lot of banter with the audience and between the two, Dan Reed especially was in great form. They change the set around from night to night on these tours, and will sometimes take requests from the audience. Both guys were also in tremendous voice, Danny Vaughn always is of course but while Dan Reed feigns envy at his colleague’s tremendous range, he has a pretty strong singing voice himself. In addition, he sings with such emotion – he really pours himself into those songs.  They always backed one another up on the other’s songs, sometimes just adding a little bit of backing vocal but on other occasions playing the guitars in unison. These shows also demonstrate their playing as well as singing ability; having attempted to learn guitar myself I have found myself watching guitar players more closely at gigs and both these guys are damn good players too, not just singers.  My highlights for Dan Reed were his acoustic renditions of Network hits like ‘Ritual’, ‘Mix It Up’ and of course ‘Rainbow Child’ and for Danny Vaughn, the deeper cuts like ‘Dulcimer Street’ and ‘Is That All There Is’ were particularly enjoyable.

Dan Reed & Danny Vaughn at Chester

Dan Reed & Danny Vaughn at Chester

Towards the end of the night (a good two hours’ worth) the guys confirmed they had plans to record together in the near future, while both revealed plans to play with their respective bands in the coming year.  They even performed a song that they’d co-written (‘Where The Water Goes’) which is intended to appear on any product they release. Following the set both came to the stand for a meet and greet, signing and posing for photos before the Live Rooms staff had to close up at 11pm.

Both guys are veterans of the scene now but both are still at the top of their game, and on this evidence have got plenty to offer yet. If you get the chance to see them, take it. (As I type, the guys announced that they would postpone the following night’s show in Sheffield owing to the weather situation worsening. They’d actually arrived in the city but felt that they could not ask fans to travel in the conditions, the date will now be rescheduled for 29th March 2018.)


5 – Delightful

Caught Live: Freedom Call (with Power Quest, Dakesis, The Loved And Lost), The Station, Cannock 24th February 2018

When you have to arrange your nights out in advance and your original plan goes out the window, what to do? Sift through the gig listings, that’s what! Nowt much going on in the local area, at least nothing that was listed anyway, so a decision was made that day to head down to Cannock for this gig. Notwithstanding the fact that the only bands on the bill I knew anything about were the two openers!

The Station in Cannock is a small, upstairs venue with a reasonably-sized stage with a capacity I estimate of around 300-400. It doesn’t have the greatest sight lines though, even with a turnout nowhere near capacity you haven’t got a great view of the stage unless on the front. I got in partway through openers The Loved And Lost’s set; a power Metal quartet from Worcester fronted by the charming Jordan Quinn, who did a fine job warming up the early arrivals and got a good reception from those front row die-hards. I’ll look out for them again, speaking to Jordan later she said they’re hoping to play ‘oop North’ in the near future.  Next up were progressive Metallers Dakesis; another band I’ve seen before but last time out I caught them completely cold, having no prior knowledge of their material I found them a bit tricky to get into on one viewing. They are talented players though, and I  got a nice spot close to the stage to see their set now I had an idea of what to expect. It began well enough with a flurry of activity from bassist Amie Chatterley and guitarist Matt Jones, but disaster struck in their opening number as the guitar completely packed up just as Matt Jones was about to take a lead solo! Cue a frantic dash off stage while he desperately dug out his backup guitar, while the rest of the band continued, leaving vocalist Gemma Lawler to improvise until her guitarist returned. Despite this, and that they seemed to be having a few sound problems on the stage, they gave a good set with some nimble-fingered playing in both guitar and bass department. They do have some epics, and afterwards I decided to treat myself to their latest album ‘The New Dawn’.

Gemma Lawler of Dakesis

Gemma Lawler of Dakesis

After this came main support Power Quest (this band are the guests on the whole tour; the other bands on the bill played this show only). A British take on speedy Power Metal, they reminded me a lot of Helloween. Another band I have admittedly little knowledge of, although they have a fairly lengthy history with numerous members passing through the ranks, their best assets are guitarist Glyn Williams and vocalist Ashley Edison. The latter can give it the full Halford when he wants, with an impressive range. Their material did tend to blend into one for me after a while, though – none of their songs really stuck in the mind.

Closing the night were Freedom Call; by this time it was getting late and with three bands already having played, it was going to be a late one. The German ‘Happy Metal’ foursome arrived on stage, or at least three of them did – with guitarist Lars Rettkowitz and bassist Ilker Ersin taking up lofty positions, placed on Delain-style raised platforms. When frontman Chris Bay arrived on stage, he too had a sound problem. The vocal mic was completely inoperable! That nullified the first part of opening number ‘Tears of Babylon’, and apparently went unnoticed by the singer/guitarist, at least until the sound kicked in and drew a cheer from the audience! Their take on Metal is a rather more uplifting, positive one than most other bands of the genre, their high-tempo songs proclaiming things like ‘Metal Is For Everyone’ are performed in major key. Consequently it comes over as a little cheesy, but such is Bay’s enthusiasm that he gets the crowd jumping, waving arms and chanting along merrily. He struggled a bit with his geography though, thinking he was still in Yorkshire before being rapidly corrected (Staffordshire!) If I’m totally honest I prefer my Metal to be a bit heavier, with doomy powerchords or even darker lyrics set to music like this (à la Sonata Arctica) but this band do know how to entertain a crowd and put smiles on faces.

Chris Bay of Freedom Call

Chris Bay of Freedom Call

Not the night I had in mind then, but any excuse to get out and see some live music will do for me. Band of the night were Dakesis, the Brum outfit have undoubted quality and I’m beginning to see why they have a loyal fanbase. They sneak an extra inflatable guitar and I hope to catch them again soon.

The Loved And Lost facebook page

Dakesis facebook page

Power Quest facebook page

Freedom Call facebook page


3 – Decent

Caught Live: Anvil, Tivoli Venue Buckley, 16th February 2018

It’s been a while since my last visit to the fabled old haunts (word used purposely; the Tiv is reputedly haunted by numerous spooks!) that is the Buckley Tivoli. But it’s been an eternity since last I saw Anvil! My first encounter with the Canadian metallers was way back, at the 1982 Donington when they opened that year’s Monsters of Rock event (headlined by Status Quo) and this show, a mere 36 years later, was my second Anvil gig! They take the prize for the longest gap between seeing the same band again, then, but although they never really broke through as they might have hoped to back in those far-off days, they did influence plenty who did.

Anvil were, of course the subject of a ‘rockumentary’ film a few years ago, a kind of ‘Some Kind of Monster’ only the subjects were not multi-millionaires being encouraged by a therapist to swim through balloons (!) The film did however, raise their profile internationally enabling the band to return to stages across the world, including a Download appearance. Since then the band (now a trio, comprising original members Steve ‘Lips’ Kudlow on guitar and vocals, drummer Robb Reiner and completed by current bassist Chris Robertson) have gone on to enjoy a lengthy Indian summer, with a recent album (‘Pounding The Pavement’) released through a crowdfunding campaign.

This was a three-band bill, but a hold-up in leaving for Buckley meant I had missed openers Sidewinder. Next band up were Cheshire rockers Hollowpoint, a five-piece playing 80s-influenced hard rock (including a cover of ‘Gimme Gimme Good Lovin’, made famous in 1984 by another Canadian band – Helix – of course, but originally by Crazy Elephant). The quintet were good players, but nothing you haven’t seen many times before.

When Anvil came on stage, the first thing Lips did was come straight off the stage and out onto the floor! Playing a frenetic lead solo, ‘in the round’ and surrounded by cheering faces, he greeted the assembled crowd with the declaration of : ‘We are Anvil and we play Heavy Metal’ – using his guitar pickup as a microphone! He then led the band into ‘March Of The Crabs’, managing to pose for ‘selfies’ with crowd members while playing guitar at the same time, then he returned to the stage for next number ‘666’.

The set included many headbangers from the early 80s and more recent material (including three from the current album). Lips took most of the attention of course, with plenty of fiery guitar playing and some spectacular ‘gurning expressions’ to accompany the solos! He also had a self-deprecating line in humour, when introducing ‘Bitch in a Box’ he told how some had seen the title and instantly slammed the band for sexism. He then pointed out the song’s lyric is about being misdirected by a sat-nav! Although a trio these days, the hard-hitting bass attack of Chris Robertson almost acts like a rhythm guitar – he really slams it hard and is just as energetic as Lips when jumping about the stage.  The solo spots came later in the set with ‘Mothra’ leading into Lips’ solo spot where he played guitar using a sex toy as a ‘slide'(!)  Not exactly Jimmy Page with a bow, but Lips’ sense of fun lets him get away with it where other bands would probably be condemned for such a stunt!  Robb Reiner’s solo came during ‘Swing Thing’, an instrumental prefaced by an intro from Lips, claiming that swing music has an influence on rock and metal. It certainly did in this piece, reminiscent of Zep’s ‘Moby Dick’.

A long set ran until well past 11pm, ending with ‘Metal On Metal’, which saw Lips return to the floor for one last solo among the crowd. Their set indeed showed how much that they did influence later, more successful bands (some of whom appear in their rockumentary film) but also how they were influenced themselves, Lips readily gave a shout-out to Lemmy, and their old-school Metal styling reminded me of Judas Priest – or how they’d sound with only one guitar, perhaps!

This was a great night of old-school Heavy Metal, the sort of gig that makes you realise how so many newer bands, those that consider themselves ‘Metal’ just don’t clang with that same resonance. When you see a real Metal band do their thing, you know about it – and Anvil are real Metal, alright. Long may their renaissance continue, and it will not be another 36 years before I see them again, that’s for sure!

4 - deserving

4 – Deserving


Caught Live: The King Lot/Thirteen Stars (with Sister Rose), Maguire’s Pizza Bar Liverpool, 11th February 2018

Another one of those gigs I ended up at despite having not heard of either band until days before this show took place! I saw the show advertised on Facebook, and went along based on the old ‘youtube test’ done on The King Lot. A Scottish trio comprising vocalist/bassist Jason Sweeney, guitarist Jay Moir and drummer CK Gillon, they described themselves as ‘melodic, hard rock’. That’s pretty accurate though to an old-school Metalhead like me they’re heavier than that tag suggests. This date, held in the back room of a pizza restaurant which can hold around 100 people, was a co-headliner with Thirteen Stars, a Cumbrian quartet who really were unknown quantities to me. So much so that when I got to Maguire’s and asked a young chap near the entrance to the back room when the bands were on, I had no idea that I was actually asking the drummer of Thirteen Stars (!) He told me that I was a little early and they’d be ready to open soon, so I headed for a swift pint in a nearby real ale pub (as you do!)

One pint later and I headed back to find the first band having just taken to the stage. Sister Rose, a quintet from Ramsbottom, played old-school hard rock not a million miles away from The Dead Daisies in sound, even if it was a million miles away in budget and scale (!) The band were squeezed for room on the small Maguire’s stage, their vocalist (Chris Berry) would step onto the floor regularly. A decent band with a fine rhythm section (drummer ‘Wanger’ and bassist ‘Woz’, as cribbed from their Facebook page!) and a particularly good guitarist in ‘Clanger’, these guys all looked around my age unlike the other member, a second guitarist introduced as ‘Alex’. Turned out he was Clanger’s son and has only just joined up with the band! They were good live, but their trad-rock was a bit too familiar to quite push my buttons.

Next up were The King Lot themselves, the band I’d actually come to see. As a trio, they looked a bit more comfortable up there. Led off by a Geddy-esque bass intro from Jason Sweeney, they showed plenty of class in their 45 minutes or so on stage. Being unfamiliar with the material (your correspondent hollered when the frontman asked ‘who here hasn’t got our new album?’) ‘At least you’re honest, sir!’ was the follow-up! Of course I hadn’t even HEARD of this band until three days before, but he wasn’t to know that! A power trio with plenty of emphasis on power, and an excellent guitarist in Jay Moir.  Their current album is ‘A World Without Evil’, which I shall have to get hold of before their appearance this July at SOS Festival, where I intend to catch this band again.

The King Lot at Maguires Pizza Bar

The King Lot at Maguires Pizza Bar

Closing out the evening were Thirteen Stars, who appeared to be keeping Gibson in business all by themselves (for those unaware, the company behind the iconic brand is in serious trouble at the moment) with both guitarists and even the bassist sporting Les Pauls! Frontman, vocalist/lead guitarist Hoss Thompson changed frequently between at least two Les Pauls and a white Gretsch. When they struck up, they did so with a vengeance! Although British (straight outta Cumbria) they are heavily influenced by Southern Rock, even the grizzled look of the frontman and fellow guitarist Jax Sedgwick appeared to be straight out of the Skynyrd style guide. Clean-cut and short-haired bassist Ryan Bell did buck the trend, though! Their take on Southern Rock is loud, hard and heavy, though a recurring theme I noticed with their songs was that many of them ended suddenly! The sound was a bit too loud for this tiny room I thought however, making it a bit tricky to make out the vocals. Again, some fine playing, and a dry sense of humour demonstrated by Hoss between songs, though should I see these again I hope for a bit more restraint on the volume, that was one of those gigs I knew would give me buzzing ears for a bit (and it has!).

Thirteen Stars at Liverpool Maguire's

Thirteen Stars at Liverpool Maguire’s

It’s always a bit tricky to report on a gig when you have little to no prior knowledge of any of the bands, but despite the volume (in particular from the last band) this was a good night. The gig drew only a small crowd, several of whom appeared to be there for The King Lot, but all involved are to be commended for bringing their tour to Liverpool, especially since Hoss told us that this was only their second visit to the city, the first being ‘an unmitigated disaster’ as he put it! (Long story short, they were kept waiting for hours before being told they had only 15 minutes, which they defied!) This time around they got to play a full set at least, and I will look out for any of these bands when they come around again.

4 - deserving

4 – Deserving

Thirteen Stars Facebook Page

The King Lot Facebook Page

Sister Rose Facebook Page


Mr. Big drummer Pat Torpey passes at 64

Pat Torpey of Mr Big

Pat Torpey at Manchester Academy

Once again I heard about this as I was about to turn off the laptop for the night. It only became known tonight but original Mr. Big drummer Pat Torpey passed away from complications of Parkinson’s disease on Wednesday, February 7th.  Only last autumn he toured with the band despite his condition, and played a specially-set up percussive kit alongside Matt Starr, who had stepped in as regular touring drummer. He was still fit enough to actually play the drums on the ballad ‘Just Take My Heart’ and contributed greatly to the live show still, adding his backing vocals as well as additional percussion. Introduced to the audience after three songs by bassist Billy Sheehan, his entrance was greeted enthusiastically by the fans at the show I saw, at Manchester Academy 1.

Mr. Big were formed in 1988 by Billy Sheehan who had up until then been playing bass for David Lee Roth; recruiting singer Eric Martin first of all he soon completed the line-up with virtuoso guitarist Paul Gilbert and finally Pat Torpey, a respected drummer who had played with many big names including Ted Nugent, and AOR singer/songwriter Jeff Paris. The band’s 1989 debut album got them noticed, but they broke through in 1991 with second album ‘Lean Into It’ and singles ‘To Be With You’ and ‘Green-Tinted Sixties Mind’.  They continued to record and tour throughout the 1990s until Gilbert departed in 1999, reforming his old band Racer X. He was replaced by another guitar prodigy in Richie Kotzen, and this line-up made two more albums before the band split in 2002.

By 2009 the band had reconvened, with Gilbert back in the fold, and the group toured again, firstly in Japan where they had enjoyed much success. Two more albums (2010’s ‘What If…’ and ‘The Stories We Could Tell’, released 2014) followed, but Torpey had already been diagnosed with Parkinson’s disease by the time of the latter album. He was unable to play drums on that album and contributed by working alongside a drum programmer. For that tour, Matt Starr was recruited to play in his place. Their most recent album (‘Defying Gravity’, released last year) had Starr play the drums on the record but working closely with his predecessor, credited as ‘drum producer’ on the album. Hailed by Eric Martin as ‘the strongest guy I know’, his appearance on the band’s most recent European tour both surprised and delighted the group’s fans.

To close yet another hastily-written post marking the passing of a great rock musician, here is Mr. Big performing ‘Addicted To That Rush’ before a huge audience at Japan’s Budokan in 2009, complete with Pat Torpey still at the top of his game:


Caught Live: Hayseed Dixie (with Emma McGrath), o2 Academy Liverpool 6th February 2018

It’s been much too long since last I saw Hayseed Dixie live, so long ago I understand there have been several changes in line-up since then! Not that it matters too much, for a band set up to cover classic rock songs in a bluegrass style (and styling it ‘rockgrass’!), as well as adding a few of their own into the mix. Founder and singer/guitarist John Wheeler (aka ‘Barley Scotch’) remains, and the current players alongside him are banjo player Tim Carter, Hippy Joe Hymas on mandolin and fierce expressions, and on acoustic bass is Jake ‘Bakesnake’ Byers. “Hippy” Joe is a scary-looking figure in dungarees (accessorised with patches of classic rock bands including Budgie and Yes!), wild hair, unkempt beard and a habit of pulling tongues Gene Simmons-style, but is a nimble-fingered player. He is also a fast string changer – in one song he snapped a string on the mandolin, continued to the end, but rather than having a tech hand him a backup instrument, changed the string on the spot while ‘Barley Scotch’ covered with a quick shaggy dog story!

Their set takes in covers of many bands, not just AC/DC as the name suggests, all rearranged to suit the instrumentation. Their cover of Queen’s ‘Bohemian Rhapsody’ has to be seen to be believed, they retain all elements of the song (including the guitar solo as interpreted by “Hippy” Joe!) right down to the ‘I see a little silhouetto’ segment. However, part way through that bit (enthusiastically augmented by the crowd!) it’s broken off for a completely different song, which three of the guys leap into leaving “Hippy” Joe to pick up the setlist off the floor, look at the others with disgust, and then take a swig of his whiskey bottle!  They play with a lot of humour, but also terrific musicianship. These guys are all masters of their instruments, and with no drummer the sound they create is all the more remarkable.

To go through all the bands they cover would take up far too much time, but the AC/DC they played included ‘TNT’,  ‘Big Balls’ ‘Touch Too Much’ and in the encore, ‘Highway To Hell’. They also cover KISS, Aerosmith, Billy Idol, Black Sabbath, Blue Oyster Cult, even Bryan Adams and Ricky Martin (!) All of which served to illustrate their mission, which as stated at the start of the show it was to demonstrate that the ‘Lost Highway’ of Hank Williams and the ‘Highway to Hell’ of AC/DC are the same! There are now other bands doing a similar thing (Hayseed Dixie started up in 2001) which probably surprised Barley Scotch as much as anyone else that not only has his act survived, but inspired others. However, a classic song is a classic song however it is interpreted, and Hayseed Dixie illustrate that brilliantly.

Support was from Emma McGrath, a young singer/songwriter from Harpenden in North London, accompanied only by a drummer (introduced as ‘Alfie’). Strumming a Squier Bullet guitar, she looked a little introverted at first but as her short set progressed, she did start to silence the chatterers in the crowd (many of whom were still streaming into the venue as she played) with her remarkable voice. She is just 18 years of age, but has the mature timbre of somebody nearer 40. Her songs are a bit mellow for the dyed-in-the-denim metalhead still in me, but her quality is clear for all to hear. I found out later she has already featured on BBC Introducing as well as other platforms, so she is definitely heading in the right direction. If you’re going to a date on this tour, get there early and give her a listen.

Support Emma McGrath

Emma McGrath at o2 Academy Liverpool

Hayseed Dixie Facebook page

Emma McGrath Facebook page

4 - deserving

4 – Deserving