The best all round roots music club in West Yorkshire
Tag: The Live Room
May 23 2022
plus support Rebecca Loebe
Friday 20th May 2022
Photos by Keith Belcher
We were surprised and thrilled to have a late addition to the bill for Willy’s first show here in the shape of Austin-based singer songwriter Rebecca Loebe, who is on tour in the UK and had a gap in her diary. She shares a booking agent with Willy and decided to come along to see him as she was in the area for a gig in Queensbury the following night. Things couldn’t have worked out better and the two even managed to rehearse a couple of numbers for the encore. Another wonderful night at TLR!
May 18 2022
Outside Track 2022
Sunday 15th May 2022
Words and photos by Keith Belcher
The Outside Track is:
Isla Ratcliff – fiddle, vocals (Scotland)
Fiona Black – accordion, vocals (Scotland)
Teresa Horgan – flute, lead vocals (Ireland)
Seán Gray- guitar, vocals (Scotland)
Ailie Robertson – Gaelic harp, vocals (Scotland)
May 14 2022
Thursday 12th May 2022
Words and photos by Keith Belcher
Another fantastic sell out gig at TLR. A trip through Seth’s archive. Set list with albums and year released. Difficult to believe Kitty Jay is almost 20 years old!
Love Will Still Remain (Make Your Mark-2021)
The Giant (Make Your Mark-2021)
King & Country (Freedom Fields-2006)
Blood Red Sky (Poor Man’s Heaven-2008)
Bury Nights (A Pilgrims Tale-2020)
Bold Knight (Kitty Jay 2004)
Underground (Make Your Mark-2021)
Higher We Aspire (Make Your Mark-2021)
White Hare (Freedom Fields-2006)
The Setting Sun (Freedom Fields-2006)
Lady Of The Sea (Freedom Fields-2006)
Side By Side (Make Your Mark-2021)
Shoals To Turn (Make Your Mark-2021)
Soloman Browne (Poor Man’s Heaven-2008)
Coming For You Soon (Make Your Mark-2021)
1643 (Freedom Fields-2006)
The Colliers (Freedom Fields-2006)
Change (Hearts & Mind-2010)
Kitty Jay (Kitty Jay-2004)
Blood Upon Copper (Kitty Jay-2004)
Last Rider (Word Of Mouth-2014)
Apr 24 2022
Hot Club of Cowtown
Friday 22nd April 2022
Photos by Ron Pengelly
What a fantastic night we had with the amazing Hot Club of Cowtown on their TLR debut!
Apr 13 2022
John Smith 2022
plus support from Native Harrow
Sunday 10th April 2022
Review and photos by Keith Belcher
Supporting John on this tour were Philadelphian duo Native Harrow, now resident in Brighton. UK. They are Devin Tuel on main vocals and guitar and musical partner multi-instrumentalist Stephen Harms, tonight mainly on bass and guitar. Both wearing well-made flared trouser suits. They evoked, to me, sounds of the late 60’s and 1970’s.
Devin’s vocals have been compared to, amongst others, Laura Nyro and Karen Carpenter. They have released 4 albums. The latest being CLOSENESS which garnered very good reviews from Uncut, The Times, Mojo and The Guardian. They certainly seemed to have some avid followers in the audience who greeted their songs with much enthusiasm.
The dictionary definition of exquisite is: adjective: “meaning extremely beautiful and delicate or marked by flawless craftsmanship or by beautiful, ingenious, delicate, or elaborate execution”. It could also be justifiably ascribed to John Smith’s performance on Sunday night. I have seen John Smith play great shows many times over the last 16 years or so, often taking in several shows in a tour. Sunday’s show, however, was just exquisitely sublime. The show was deservedly sold out in advance. That’s not bad when you consider he was only playing a few miles away at The Brudenell Club, Leeds the night before. Usually promoters try and avoid that sort of proximity clash but with multiple cancellations, rescheduling etc etc over the last 2 years, life is what is!
There have been many changes for John over the period of you know what. He’s had time for much reflection and introspection. It’s resulted in many great new songs. He’s moved home from Somerset to North Wales, brought his parents over from Spain to care for them, found out he’s allergic to all sorts of things and changed his diet considerably. He’s brought out 3 excellent albums over that period. He has also really missed playing to real live audiences.
The joy of being able to perform again has been, like for other acts recently at TLR very noticeable. His sound has altered considerably. To my ears it’s far more refined and delicate. He was always quiet but never more so than now. The array of effects pedals at his feet also seems to have bred profusely and are used subtly to enhance his voice and guitar. He always used to make do with 2 guitars but he now travels with 3 and one is called Mavis. Perhaps the other 2 also have names but he didn’t introduce them on the night.
A rare night off sound desk duties for Ron, which, I would imagine made the sold out show even more enjoyable. John and Native Harrow had the skills of Barnsley’s Joe Rusby at the desk. Both Joe and John commented at the sound check just what a great room TLR is for sound. Something all the regulars are well aware.
John’s set opened with the array of pedals being used to great effect on a long extremely delicate intro to Hold On from THE FRAY. He then remarked it had been approximately 3 years 16 days since he performed at TLR, not that he had been counting! The next 2 songs were also from THE FRAY. Sanctuary had also been re-recorded for THE FRAY VARIATIONS with a String Quartet at Abbey Road. It has, amongst others, a wonderful line, “I saw the future with eyes wide open”.
The set also featured the traditional Hares On the Mountain and a Roly Salley cover, Killing The Blues, really beautifully sung and played. Whenever I hear this song played by anyone, I think back to a Martin Simpson comment about the royalties cheque difference when Robert Plant and Alison Krauss recorded the song, considerable I should imagine. John’s version was just as good.
During the time of no live gigs John collaborated with the very phenomenal Sarah Jarosz on a song called Eye To Eye, also on THE FRAY. What a lucky man! He sings with both Sarah Jarosz and the equally brilliant (“big sister”) Lisa Hannigan. He commented that when he received the vocals (it was all done at distance, Sarah is US based) from Sarah he thought he had better redo his own already recorded vocals, Sarah’s were that good. I have seen her several times and she really is a huge talent and still SO young. She also performs in a trio called I’m With Her with Aoife O’Donovan and Sara Watkins who have harmonies beyond belief, well worth checking if not already known.
He did 2 songs co-written and sung with Lisa. The first was Star Crossed Lovers. John joked if we imagine hard Lisa and Sarah might appear from backstage. I’d think I was hallucinating or in heaven if that happened.
John in a recent Facebook blog had given a glowing report on TLR audience. His line was a “die hard pin drop audience”. I was really aware of this as Sunday really was a “you could hear a pin drop night”. I had arranged with John that I would photograph 3 songs to capture the 3 different guitars and I would do most of it from the back. I have never been so conscious of a shutter click, the listening intensity of the audience was so much that to me, the shutter release sounded like thunder. I sincerely hope I did not really annoy too many people. I moved around to “share” the load. John maintained a friendly constant banter with the audience throughout. There was even a little friendly Northern heckling of Get On With It in response to one banter interlude.
All too soon the show was coming to an end with 2 songs from HEADLONG, Joanna followed by Far Too Good, both songs are incredibly well written and have seriously addictive vocal and guitar hooks. Along with Save My Life (possibly the catchiest song for many a year, sadly not performed) from same album they all need health warnings that once heard they’re going to echo around your head for days (or more).
The encore paid homage to John’s Brixham , Devon upbringing with another Lisa Hannigan co-write and performed song Salty and Sweet. The audience performed their vocal parts beautifully without being asked bringing a huge smile to John’s face. It was easy to see that he really enjoyed the night. Let’s not wait another 3 years for the next visit.
Apr 5 2022
Lynne Hanson 2022
Plus support Malcolm MacWatt
Sunday 3rd April 2022
Review and photos by Keith Belcher
Canadian Lynne Hanson’s second visit to TLR had been one of the many gigs delayed , postponed and rescheduled due to you know what. This time around she was accompanied on guitar, vocals and electronic wizardry by the very excellent Ottawa based Blair Michael Hogan. London based Scots singer songwriter Malcolm MacWatt was making his TLR debut.
Following his debut performance I am fairly certain that Malcolm MacWatt will be back at TLR soon headlining his own show. He was very well received by the TLR crowd, some of whom had travelled far and wide for tonight’s show. Morayshire born, currently living in London. One only has to look at the guests on his new album SETTLER and its many glowing reviews to get an idea of the rep he’s making for himself with his excellent song writing. The album features no less than Jaimee Harris, Laura Cantrell, Gretchen Peters, Eliza Carthy and Kris Drever. That’s not a bad guest list. A multi-instrumentalist playing almost all instruments on the album himself.
Tonight, he limited himself to guitar only. A very good selection of songs. A theme of Celts abroad present in many of the songs such as the opener The Crofter and the Cherokee, followed by a tragic Letter From San Francisco, a sad letter written from an emigrant to his mother. A slightly disturbing (these days) recount of his Dad keeping a shotgun in the car in case they saw any game. That helped towards the song Trespass a very intelligent and observational song. He finished his set with a taste of Red River Woman, a song he’s currently recording . His opening remarks to that song about hating misogyny and prejudice of any kind reminded me greatly of Dick Gaughan, another Scot with a huge social conscience.
Hilary introduced Lynne Hanson and Blair Michael Hogan to huge applause. A lot of people had been waiting a long time for this gig, postponed and rescheduled over the last 2 years.
Blair’s guitar painted a lush sonic landscape from the opening notes of Hold My Breath and continued that way all night. The song, about friendship and living in the moment inspired by the period of you know what making us think about our lives and relationships. Blair’s guitar was superb throughout. An array of pedals at his feet and the skill in his fingers creating wonderfully diverse textures and emotional backdrops to Lynne’s guitars and vocals. Blair also sang harmonies but mainly played really superb guitar with very little conversation (except for one point – more later).
The next song 100 Mile Wind had a Wizard of Oz intro about filling up her car with gas and almost being blown to Kansas. Lynne’s album JUST WORDS was written before lockdowns (“Before Times”) happened and it never got the extensive touring it deserved and then along comes ICE CREAM IN NOVEMBER , to be released officially on April 22nd. Lynne commented on how lonely the songs from JUST WORDS must have felt not being allowed out to meet the world.
Lynne’s lyrics and songs cover a huge range of topics as do her in between song banters. It would be fair to say she could probably hold her own at TLR’s comedy nights as a stand up comedian. The audience were, at times, in stitches with her highly theatrical, animated conversations and gesticulations. They covered all sorts of topics from observations about Canada’s “big” neighbours and health services and huge vats of maple syrup, jigsaw puzzles, being vetted for a “Nice Canadian” card to allow exit from Canada. Imagined meetings with Ernest Hemingway and strangely named deserts.
Lynne has a really infectious energy that crackles about her. Feeding on the energy from the audience and giving it back in spades. Blair ‘s only comments of the night were when she was relating her experiences of drinking (she stopped in 2011), something along the lines of finding it difficult to imagine her as a drunk. The song Long Way Home was written after giving up booze. It really reminded me of another TLR favourite the great Bronwynne Brent, it had that nice easy, bluesy, jazzy feel to it.
The pace and delivery of songs was very varied. The banter from factual, comical to philosophical sophistry – (did the colour blue exist before someone called it blue – Orion’s Belt). What was very evident from the start and throughout was the sheer joy at being back on a stage in front of real people playing live music. It’s been a common theme amongst artists since lockdowns ended but so far none quite so evidently displayed as tonight.
As the set drew to an end Lynne had the audience singing along with a very upbeat Shadowland with Blair pulling out all the guitar stops. In another country he would have been given several bursts of spontaneous applause for his breaks. With dramatic contrast Lynne and Blair finished set proper with an unplugged version of Gotta Have Rain, perched precariously on the stage edge. She said in the “before times” it was a song about gratitude and in the (hopefully) “after times” it is even more of a song about gratitude and appreciation of the way things are. ” You want to have flowers, you gotta have rain”. It was dedicated to as especial thanks to promoters and audience who are turning out to support live music.
They weren’t getting away without an encore which was the very superb River of Sand. A great night, good time had by all, performers, audience and everyone involved. What else do you want on a Sunday night?
Mar 28 2022
Little George Sueref & The Blue Stars
Sunday 27th March 2022
It has been an ambition of ours for around twenty years to bring the Cardiff-born bluesman to our stage and at last we managed it!
We don’t present a whole lot of blues here at TLR and when we do we look for something outside the mainstream ‘blues rock’ version, preferring to avoid the classic electric guitar ‘shredders’, as good as many are.
Little George eschews the flashier stylings of modern bluesmen, favouring the more nuanced, textured feel of the original giants, such as Muddy Waters, John Lee Hooker, Howlin’ Wolf and Little Walter; a hark back to the music from the iconic Chess label.
That’s not to say there isn’t skill aplenty in the band. As well as George’s wonderfully soulful voice that goes from a growl to a two-octave leaping howl in an instant and his deceptively simple guitar lines, he is an amazing harmonica player. Last night, as well as classic blues harp, we were also treated to a beautiful minor key ska instrumental with George taking up the chromatic version of the instrument and showing a real mastery of that too.
Accompanying George were two brilliant London-based Italians. Davide Manzzantini from Empoli just outside Florence, treated us to some fantastic and very tasteful guitar, never over the top and always full of melody. On drums Loris Peverani from Rimini on Italy’s Adriatic coast, played some of the most tasteful drums, always serving the song and driving the rhythm with a delicate but powerful pulse.
We were treated to over two hours of soulful, old style blues that wouldn’t sound out of place in a Chicago bar room in the 1950s and suited the Caroline Street Club surroundings perfectly! Another great night of music here at TLR.
On a slightly sadder note, the evening also coincided with the club steward, Mark’s last shift at the club, as he takes his leave of the industry for a new job. We’re all very sad to see him go after all the work he has put in over the past five years to build the club into the success it has become. We wish him and his partner Gemma and their children the very best for the future.
Mar 22 2022
Sunday 20th March 2022
Photos and review by Keith Belcher
Some nights you get really lucky and get a whole lot more than you expected. So it was on Sunday night for the second visit (in the flesh) for the 4 piece Madrid based Track Dogs. They comprise 2 Irishmen, I Englishman and 1 American. They are Garrett Wall, vocals, guitar and ukulele; Dave Mooney, bass, mandolin, vocals; Howard Brown, trumpet, cajon, vocals; and Robbie K. Jones – cajon, banjo, percussion, vocals. Instruments were swapped regularly throughout the night.Their music reflects the nationalities as well as their Spanish base. Their first visit to TLR was 15th March 2019 and there was a virtual performance on 4th October 2020.
Tonight, we didn’t get just a quartet. For large parts of the show we had, for one night only, a sextet with the addition of cello player Adrianne Wininsky and violinist Chris Demetriou. Adrianne and Chris have featured on a couple of Track Dogs’ albums. Towards the end of the show we had a septet with old school friend Fergal Gara, who lives in the area, joining the band on stage to play some great harmonica. Their music is often described as a dynamic fusion of folk, Latino, Americana & bluegrass. What they really generate is an immense amount of fun and enjoyment, both on and off stage. Something we all really need at the moment.
A relatively quick sound check as the club had a rock n’roll afternoon until 5pm with a scheduled start for Track Dogs at 7pm. You wouldn’t know it from the great sound. A big queue outside when doors opened. They seemed to have a lot of hard core fans who weren’t going to miss out on the performance.
Taking the stage as a quartet they got such a great reception they joked about going straight to the encore while they were ahead. The show opened by jumping in with The Deep End, an upbeat Latino style song, that’s the way to start, (sorry, couldn’t resist the pun!). By the time they got to Whatever Happens the audience were buzzing, needing no persuasion or prompting to join in with the vocals with much gusto.
At some point in Set 1 the painter of their last album cover took a bow having been introduced from the stage. Eventually Chris and Adrianne joined the stage with violin and cello filling the 2 empty seats between Garrett and Howard. Garrett Wall’s vocals are really tremendous, their harmonies superb and both Howard and Robbie took turns with superb lead vocals.
Musically very flexible, Howard switching between trumpet and cajon, Robbie between cajon and banjo, Garrett and Dave swapping guitar, bass, mandolin and ukulele. Assorted tambourines littered the stage(you need to have been there to understand the relevance of that remark). Set 1 ended with a very lively All Clapped Out. Big queue at the Merch table and a lot of old friends catching up. It was a very friendly sort of night.
A far longer second set opened with the question Where To Now, the title song of the latest CD. As well as the really lively numbers they played some delicate songs such as the beautiful Broken Strings. It really showed just how good Garrett’s voice was and how well the band blend on harmonies and also just how much sensitive strings add to a song.
There were many songs in set 2 where the band played and sang bluegrass style around a single mike. A humourous few minutes as Robbie introduced Empty Tracks, a song about a tourist train that stopped running during lockdowns. The rest of the band commenting on his usual time of rising!! (not early!!). That was followed by a James Taylor cover of Carolina In My Mind, very apt as they remarked as they had been really looking forward to playing The Caroline Social Club again.
Cranking up the pace with another cover, Brandy (Looking Glass cover) with Howard on lead vocals. They really pulled out all the stops when Chris rejoined the stage and they launched into Gonna Get My Way. Very noticeable that Chris was now standing rather than sitting for this one. Some cracking bass, violin, cajon and banjo solos on this one.
They also brought on Fergal to play harmonica, he got a solo too!!! Difficult to think it could get any livelier than that but they then launched into Donna Lola with huge audience participation, again unprompted, a lot of the song unamplified as they left the stage and walked around the venue.
A quick breather before the encore. The band giving a heartfelt thanks to Ron and Hilary for everything they have done during the last 2 years and more, especial thanks to Ron’s great sound throughout the night. The encore, sang by Robbie showing just what a strong voice he has was another tip of the hat to The Caroline Club.
A really powerful cover of Ruby (Are You Mad At Your Man?). Originally by Cousin Emmy & Her Kinfolk in 1946 then The Osborne Brothers in 1957 (apparently the first time twin banjos were used on a bluegrass recording! You learn something very day!!) but perhaps better known these days for the CAROLINA Chocolate Drops cover (2012). For this Adrianne joined Fergal and Chris on stage and they played out as a septet.
As I said at the start, sometimes you get a lot more than you expected. It was definitely one of those very superb nights.
Feb 15 2022
Paul McKenna Band
Sunday 13th February 2022
Review and photos by Keith Belcher
A debut appearance at TLR for the 5-piece Glasgow based band comprising Paul McKenna, guitar and main vocals, Conal McDonagh, pipes and whistles, Robbie Grieg, fiddle, Conor Markey guitar, tenor-banjo, bouzouki and backing vocals and Ewan Baird bodhrán and backing vocals. A fairly rare but very welcome appearance south of the Scottish border.
Last week we had Sarah Allen from Flook playing standing on one leg, out of choice. This week we had Paul limping painfully on one leg due to an injury picked up playing 5 a side football which attracted the absolute minimum of sympathy from band mates. There was certainly no limp to his voice, that was firing on all cylinders throughout the show. It was evident on the night just why he is regarded as one of the finest and most exciting Scottish voices. There was excitement all around, for the band the pleasure of actually playing in front of live audiences and as well as having the band appear, for the Live Room, the fact that for the first time there were 3 shows scheduled for this week. As well as 2 one leggers we also had 2 bodhrán players on the trot also with John Joe Kelly last week and Ewan Baird at this gig.
Introductions over the show started with The Mickey Dam a traditional Irish song about Immigrant labourers working on the Dam at Milngavie (pronounced Mil-guy) in Scotland. It’s rousing choruses got the night off to a great start. Throughout the night we had traditional Irish and Scottish songs, Paul’s own compositions, covers and also co-writes with other artists. Superb harmonious sounds coming from left of the stage with Conal and Robbie merging pipes, whistle and fiddle in a very pleasing to the ears sound. It’s not surprising that Paul’s voice has been compared favourably to the great Dick Gaughan. In Paul we have one of the most powerful and emotive voices on the musical circuits in any genre. Like Dick, Paul also writes songs with a social conscience, not yet as forthright as Dick but Dick didn’t get that outspoken overnight. There is a Dick Gaughan song called Whatever Happened which could have been the forerunner to Paul’s song The Dream, listen to both and see if you agree. Not surprising that Dick helped with the production of Paul’s album Between Two Worlds.
Conal switched between whistles and pipes throughout the night, playing both to great effect, likewise Conor switched between guitar, tenor-banjo and bouzouki as well as providing great backing vocals. A rock steady beat and great vocals from Ewan sitting mainly in the shadows at far stage right. The evening extremely well-paced, rousing songs alongside contemplative ones and 2 sets of very foot tapping tunes of jigs and reels. Lots of funny stories about Paul’s residency at Disneyworld in Florida and adventures in the States and Canada. There seemed a lot of alcohol involved with some stories. A co-write with the great Tim O’Brien, Can You See Me Sister, evoked stories of digital, transatlantic song collaboration.
Robbie weaved in and around all the other instruments superbly all night. The audience participated enthusiastically and brilliantly on Paul’s own composition Home, which was the last “real” song of SET 2, an easy one as it didn’t involve words. They went off stage to rapturous applause, possibly a mistake for Paul to leave the stage as he had to hobble back for the encore, much to the amusement of his “sympathetic” bandmates. The encore of Walt Aldridge’s No Ash Will Burn also invited the same level of participation from the audience, this time a bit more complicated but the audience passed the memory test with flying colours. Outside it was very cold and wet but inside TLR a very entertaining and warming evening, a great debut appearance by a great band.
It was also the first of trial early starts for Sunday nights. Having started at 7pm the show was over shortly after 9pm. Those with “school” the next day were grateful. The trial worked well in my opinion.
Dec 14 2021
A Bright New Year: The Melrose Quartet
Sunday 12th December 2021
Photographs and review by Keith Belcher
A Bright New Year with The Melrose Quartet. Sheffield based Melrose Quartet are Jess & Richard Arrowsmith and Nancy Kerr and James Fagan. All dressed in festive finery and sweltering on what was a very unseasonably warm night, contributing on vocals to the glorious harmonies and between them playing violin, viola, melodeon, bazouki and guitar. The room was bedecked with Christmas lights and huge baubles as well as a Christmas tree on stage left.
Hilary and Ron welcomed everyone with what has become a traditional Live Room Christmas Show tradition with copious amounts of free sherry, mince pies and chocolates. The show was a sell out albeit restricted to all seating in deference to social distancing and audience and venue concerns.
Our “leader” was making his TV announcement midway through set 1 but the audience was, as usual, way ahead of him. Almost everyone turned up wearing face masks and I have no doubt they were also double and triple jabbed as well. Despite the precautions you really couldn’t get a more Chrismassy feel to a show than that produced by the soaring harmonies of The Melrose Quartet.
No one would deny there was a party atmosphere and there were also games and quizzes on the night. On the Christmas tree at the side of the stage were 6 red and 6 white baubles with numbers on. These were selected throughout the show by randomly picked audience members. These were for the Rudolph variations. 12 versions of Rudolph the Red Nosed Reindeer but done to totally different tunes. A lot harder than it sounds. The audience had to identify the tune. I admit to being abysmal at said task but one group (conferring was allowed and took place , no one will deny that) scored 10 out of 12 and won a Chocolate Santa. A similar prize was given to the most memorable festive woollies.
The majority of the nights music was from the new CD THE RUDOLPH VARIATIONS , some traditional Sheffield Carols and modern classics by the likes of Si Kahn and Robb Johnson. They did stress that it wasn’t a CD full of Rudolph versions. The encore was a very rousing We Wish You A Merry Christmas. Let’s all hope for that and a Bright New Year in 2022.
It was great of the band to pay tribute to Ron and Hilary and the staff of TLR for keeping the faith and keeping the music alive during the last 2 years. I would like to also thank Ron and Hilary for continuing to do what they do so well. We are very lucky to have the club.