Laurel Canyon Music

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Folk, Americana, Country, Blues, Singer-Songwriter, Roots & Acoustic music.  LCM is a new co-operative music community and on-line magazine to promote & support the music that we love. 

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Kirsty Merryn, Kitty Macfarlane & Emily Mae Winters - Green Note, London (18th July, 2017)


  • Line-up: Kirsty Merryn, Kitty Macfarlane and Emily Mae Winters (trio) - Triple header "Estival"
  • Location: Green Note, Camden
  • Date: 18th July, 2017
  • Reviewed by: Gary Smith (LCM)
  • Photo Credit: Mike Watts


Organised as a folk music celebration for the beginning of summer, “Estival” brought together three of the very talented 'fast rising' young stars of the UK Folk word. All very different in their unique styles but very complimentary. A perfect match.

This triple header was opened by Kirsty Merryn, who organised the event. Kirsty is a London-based singer-songwriter whose music is heavily anchored in the folk tradition, but with influence from her background in jazz and classical music. Kirsty who has a pure crystalline vocal, become a regular on London’s folk scene, delighting the crowds with her delicately introspective piano based songs and sophisticated musical style, which are balanced beautifully by an intimate and finely observational lyrical content. Kirsty is currently working on her debut album which is a collection of stories about inspirational women, supported with funding from the English Folk Dance and Song Society (EFDSS). It's produced by the award-winning Gerry Diver (Sam Lee, Lisa Knapp) and will be released later this year. The album will also feature the talents of award-winning musicians Steve Knightley and Luke Jackson.

Kirsty's set begun with the tradition folk song 'The Blacksmith,' a cautionary and universal tale that men are not to be trusted, especially the much maligned Blacksmith. Her version was slightly slower with a more jazzy feel, but it worked very well. Celebrating the life of the author Jane Austin 'Love in A City Room' taken from her 2013 debut EP 'Just The Winter', explores the practical side of love in a unromantic age. 'The Fair Teamaker of Edgware Row', is a new track on Kirsty's debut album, written about another inspirational woman, Emma Hamilton the mistress of Lord Nelson. It was the song which Kirsty said started the theme of the new album project. We turn to Kirsty's family for her next inspiration 'The Pit and the Pugilist'. It's based on he great grandfather Tommy Mitchell, who won a major boxing match and received a gold watch as his prize.

Murder ballads are a staple of Folk music and unusually but very apt was Kirsty's next choice 'The Outlandish Knight', where the heroine survives to tell the tale, unlike the unfortunate Knight. Another taster of the new album was 'Forfarshire'. a duet with Show of Hand legend Steve Knightley. Deputising on the night was special guest Claude aka 'Alex Alex'. The song is based on the life of Grace Darling an English lighthouse keeper's daughter, famed for participating in the rescue of survivors from the shipwrecked 'Forfarshire' in 1838. It also explores the life of her father William. Kirsty will be touring with Show Of Hands in the autumn. She completed her classy set with the unaccompanied 'The Birds Are Drunk', another folk murder ballad, this time based on a Persian poem.

Next making her Green Note debut was Somerset based singer-songwriter Kitty Macfarlane.  Kitty’s songs are charged with a sense of place, more often than not her home of Somerset. As well as the release of her debut EP 'Tide & Time', Kitty has been on a national support tours with Kathryn Roberts & Sean Lakeman and Blair Dunlop. Her EP received outstanding reviews and national airplay on the BBC Radio 2 folk show as well as other regional BBC radio shows across the UK and features Sam Kelly (co-producer), Jamie Francis, Lukas Drinkwater, Ciaran Algar and others. Kitty was also a BBC Young Folk Award semi-finalist in 2015.

Kitty started her set with an unaccompanied song "The Folk Of The Sea", about the 'Sea Morgans' who are a group of fabled sirens in the Bristol Channel. Inspired by the floods in Somerset and valuing intangible things and well as the tangible, was the central theme of 'Man, Friendship'. Next in the build up to the next song Kitty talked about her love of nature, a local badger who comes into her garden and her mothers quest for the perfect family Christmas card. One of my favourites in the set was the beautiful 'Lamb', which is based on a William Blake poem. The very topical 'The Glass Eel' was next discussing the flux, flow and motion of human migration and its barriers both natural and man-made. The title track of Kitty's debut EP 'Tide & Time' about the Northern France fishing industry highlighted her rich storytelling ability. Another favourite was 'Wrecking Days' based on a documentary of two Padstow beach wardens and beachcombers, continuing the theme of constant movement and current. The final song of the set was Kitty's very popular cover of Tim Buckley's 'Song To The Siren'.

Last but not least was Emily Mae Winters and her very good trio Jasmine Watkiss on fiddle/backing vocals and John Parker (Nizlopi) on Double Bass. It was only their 2nd gig together, but you wouldn't have noticed. Emily is a little more Americana leaning than Kirsty or Kitty and she has an added dash of Irish Folk. Born in England, Emily grew up Clonakilty, County Cork, where a love of acoustic music was nurtured and encouraged by the local scene and Emily developed a taste for live performance. Influenced by the sounds of traditional and contemporary Folk, Celtic, Country and Americana music, she learned to play the guitar, piano and whistle and began playing local music festivals . A return to London in 2009 to study History at The Royal Holloway saw her begin to flourish as a songwriter and in 2012 she was offered a place to study music and theatre at the prestigious Royal Central School of Speech and Drama (RCSSD). From an early age, Emily also developed a deep love of poetry. After graduating she performed in numerous theatre productions across the UK whilst continuing to enter songwriting competitions and gigging in and around the heart of the acoustic and roots scene in London, quickly establishing herself as a writer and performer to be reckoned with.  After completing her studies, that connection led to Emily working at the Poetry Cafe in Covent Garden and at Keats House Museum, Hampstead Heath. Emily is now based in Cambridge.

Emily's set opened with her lovely cover of Gillian Welch's 'Go On Downtown'. A Ben Miller cover 'Sun Is Gonna Rise' was next choice, recorded recently by Hannah Sanders and Ben Savage on their excellent duo album 'Before The Sun', in keeping with the summer theme. Emily was the special guest at their album launch gig. We were treated next to a new and yet unrecorded song 'How Do You Fix A Broken Sun?', before some relationship and dating advice. Could there be a new market for 'Folk Tinder'? Another new song followed the very uptempo and catchy 'WIldfire'. Then we had a five song mini set from Emily's debut album 'Siren Serenade' released in April including 'Blackberry Lane' a song about Emily moving from London to Cambridge, the very upbeat 'The Ghost Of The Pirate Queen' inspired by Grace O'Malley, the lovely 'As If You Read My Mind' and the love song 'Miles To Go' a finalist in a UK Songwriting contest. The set closed with the wonderful award winning and one of my personal favourites 'Anchor'.

For the very well deserved encore Kirsty, Kitty and Emily combined for a fantastic off-mic a capella version of 'Pleasant and Delightful'. I really loved the harmonies on this one. It will be interested to see what the future holds for this very talent trio. We hope it includes future projects together.




Sadie Jemmett - Green Note, London (5th July, 2017)


The Green Note in Camden has long been regarded as the best small music venue in London. With it's super sound, listening audience and warm atmosphere, it is the favourite of many acoustic artists. Hosting some of the best musicians and singer-songwriters over the years, it has also been used to record live sessions and concerts. Famously The Shires recorded their first EP at the venue. Tonight was a another special occasion as East Sussex based singer-songwriter Sadie Jemmett had chosen the Green Note to record her new live album for release later in the year. 

First up were the special guests for the evening, two young brothers Ed and Ollie Goodale from West Sussex. Despite his young age, Ed has played extensively at gigs, clubs and festivals throughout the UK and Europe, gaining him a strong following on the modern folk scene. Ed's songs are inspired by his 'gift' of Asperger's. With Ed on vocals and acoustic guitar & brother Ollie on cajon, it was a mature performance and strong set of songs based on Ed's life and experiences. Vocally Ed reminded me of Andrew Jones from Journey Home.  The seven song set included songs about 'going with the flow', relaxing and contemplating life in 'I'm alright', 'I'm feeling fine' and 'I want to stay' to the subject of relationships and his daughter in 'Through it all'. There was the optimistic and inspirational 'Don't take no for an answer' about following your dreams as a singer-songwriter. It was also the title track of Ed's 2015 album 'The Same But Different'. The set was concluded with a moving song about their older brother serving in Afghanistan called 'Far Away'. 

Sadie Jemmett comes originally from Cambridge but spent most of her life in North London. She even ran a stall in Camden market selling fruit and juices. Sadie's music is inspired by London life and her personal experiences. It is autobiographical bohemian indie-folk, strongly influenced by the classic Greenwich Village folk music of the 1970's.

With just Sadie on stage with her finger-picked acoustic guitar, she began her set with the emotive, personal and dream-like 'I'm glad your back' taken from her 2011 album 'The Blacksmith's Girl'. Next was her ode to North London, the americana flavoured 'Up on the heath' which was dedicated to Immy, who had asked Sadie for the chords of the song so she could play them on her ukelele. The song reminded me a little of Billy Bragg.

Sadie lived in a one-bed flat with her young daughter and worked in Camden for many years. The next song was another personal take on North London life 'Five things I noticed while I walked to Camden Square'. Following perfectly was the emotive 'Stay' a love song from her 2014 EP 'London Love Songs'. Many singer-songwriters find it difficult to write a 'happy' song. The beautiful and touching 'Fighting chance' was Sadie's latest song to try and crack this elusive subject.

Very topical and timely was another new song 'Rescue street', about the perils of internet dating and the difficulty of modern relationships. Sadie said while writing the song she thought of a place where all these people were waiting to be rescued and saved. Sadie mentioned that the next song 'Another Way To Be' was written after the worse jetlag ever after flying to the US to record her debut album. After four sleepless night this was written for her young daughter. 

Sadie also lived near Dalston and the next song was another slice of London life the title track from her EP 'London Love Songs'. With an Americana feel and tackling the subject of addiction ''Adventures in Sobriety' was written for a friend who had trouble stopping drinking. He would often talk about a 'beast sat on his shoulder'. Written on a very rainy London summer's day 'These days' is a personal account of difficulties of being a single mum.

The very well deserved encore was the up-tempo country infused title track from her 'The Blacksmith's Girl' album, about a girl who goes out at night to seek her fortune. 

It was another special night at the Green Note, I wait with eager anticipation to hear the forthcoming live album.

Darlingside - Union Chapel, London (3rd July, 2017)


Concerts at the the multi-award winning Union Chapel are always special events. This gothic styled working church is often named as one of London's best and favourite live music venues. Last night was very special indeed, with headliners Darlingside alongside their special guest Caitlin Canty producing a stunning performance. Although both are based in the US, Caitlyn in Nashville, Tennessee and Darlingside in Cambridge, Massachusetts, this had all the feeling of a 'homecoming' gig. A packed Union Chapel audience (and their biggest worldwide (non-festival) audience to date) witnessed something quite extraordinary, culminating in a very well deserved double standing ovation

Special guest Nashville based based US singer-songwriter Caitlin Canty (originally from Vermont) opened the evening. Darlingside describe her as a 'big sister' and close fiend who they first met in Williams College in Western Massachusetts. Darlingside also produced Caitlin's first EP and they also played in a wedding band together. This was Caitlin's first London gig and her first trip to the UK. I'm sure that it will be the first of many to come. With a beautiful acapella introduction Caitlyn opened with the lovely 'The Brightest Day', one of the many songs in her extended set from her latest album 'Reckless Skyline' which was released in 2015.

With it's soft picked acoustic guitar slowly building into a rocky finish 'Love For You Will Not Fade' was a firm favourite. Caitlin’s next song “Dotted Line” taken from her latest EP 'Lost in the Valley' was used recently on Netflix’s drama 'House of Cards'. The very catchy and rocky bluegrass 'Enough of Hard Times' was another toe-tapper. One of my favourites in her set was her hit 'Get Up' . Caitlin has a wonderful pure vocals and this song showcased them to the full. I love the arrangements too.  Caitlyn said that in Nashville as a songwriter you have to write a 'weepy' and this was her one, the lovely 'Idaho'. Coming off-mic to deliver a super "unplugged' version of a Country classic made famous by Glen Campbell and written by Lefty Frizzell "I Want To Be With You Always'. Described by Caitlin as her 'crush on the south' was the sublime and reflective 'Southern Man'. Caitlin said that there was so many parallels between the UK and US and there was such a deep sense of community. The last song in her set was the beautiful title track of her last EP 'Lost in the Valley'. 

Darlingside are Don Mitchell (guitar, banjo, vocals), Auyon Mukharji (mandolin, violin, vocals), Harris Paseltiner (guitar, cello, vocals) and David Senft (bass, kick drum, vocals). They are a 'band of brothers' all from very different musical backgrounds and performance styles including chamber music, choral singing, Celtic session playing and street busking. NPR described them as 'exquisitely-arranged, literary-minded, baroque folk-pop'. Simply put the music Darlingside plays is serious, cinematic and deeply moving. There is a real special and magical feeling about it. All the band are all highly skilled multi-instrumentalists with a super tight delivery in their playing and harmonies. They certainly have the 'wow!!' factor.

The band’s name originates from a songwriting class taken by the band members at Williams College. The course instructor, Bernice Lewis, quoted British writer Sir Arthur Quiller-Couch in teaching the class to “kill your darlings.” Lewis applied this philosophy to songwriting, wherein a favorite line, lick, or riff (“a darling”) might compromise the balance and arc of the song as a whole. The name “Darlingside” is an homage to “killing one’s darlings.” It is spelled with an “s” instead of a “c” (like regicide, fratricide, or homicide) because the band felt the “s” is easier on the eye and because they are not super into death.

Grouped around a single bi-directional condenser microphone Darlingside started their set with the powerful and moving 'God Of Loss'. One of my favourite songs on their 'Birds Say' album and live it is quite simply stunning. An ode to Chicago followed, sparse notes from banjo, acoustic guitar, violin and keys punctuate the solemn and beautiful 'White Horses', in keeping with the song’s themes of haunting nostalgia and bleak winter inertia. They were joined on stage by UK singer-songwriter and friend of of LCM Tom Hyatt on keys.

Turning to a track on their 2012 debut album 'Pilot Machines' the band played the sublime and heartfelt 'My Love'

After a short interlude to describe the unfortunate encounter Harris had with walking into a glass sliding door on tour in Bristol and the ensuing mayhem, the band moved seamlessly into their next song the very entertaining and clever 'Harrison Ford'. The title track from their 2016 EP 'Whippoorwill' followed, a song about childhood and the passage of time. The song is named after a cabin in upstate New York. Also from the 'Whippoorwill' EP was the next track the rocky, psychedelic and catchy 'Blow The House Down'.

What can only be described as a 'Cheese' interlude by Auyon followed. After only finding out on tour that Cheddar was not only a cheese but also a place in England. The band had encouraged him to learn more about the country he was touring and of course cheese, which he approached with gusto. Raiding all the information on the 'British Cheese' website and then describing the band members entertainingly in cheese metaphors and imparting cheese facts for Cheddar, Stilton, Lancashire and Shropshire Blue.

It was back to their 2010 debut EP 'EP1' for the next track the reflective and personal 'Catbird Seat' with it's excellent fiddle playing from Auyon, making up for insulting his fellow band members earlier. Next up was the 'Bird's Say' album's opening track with it's bowed cello and gentle mandolin playing 'The Ancestor'. It reminded me of a gentle version of the Keston Cobblers Club, who headlined the same venue recently. Another super track was 'Good For You' again with mandolin taking the high notes and amazing four-part harmonies floating over the appreciative Union Chapel audience. With it's wonderful lyrics and metaphors was the almost Beatlesque 'Clay & Cast Iron'. It so difficult to pick a favourite song from their last album and EP as the quality is very high. It's the kind of music you just need to put on your headphones, have a glass of red wine by your side and just close your eyes and drift away. 

Very timely for the eve of the American holiday was another song from 'Whippoorwill' EP the 'Fourth Of July'. A very special Tom Petty cover 'Wild Flower' followed with Caitlin joining the band on stage. It held special memories as it was sung by Caitlin at Harris' wedding as Harris' bride was walking down the aisle. Harris said it was almost like being back at his wedding, as he was back in a church. But as one of his bandmate interrupted 'This time it was like the audience marring Harris'. To which someone in the audience shouted 'I Do'. 

With it's fuzzy guitar opening the wonderful 'Go Back' had shades of early Mumford and Sons. Brittle synthesizer-like sounds from Auyon’s mandolin seamlessly mesh with acoustic and 12- string Danelectro guitars for a great rock groove. 

They then made an important announcement. Darlingside are shortly to begin to record a new third album, to be released in the spring of 2018.

The final song from 'Bird's Say' in the set was the retro 'My Girl, My Guy' with shades of CSNY and the Beach Boys. As a fitting conclusion the encore was the powerful and anthemic 'Sweet and Low' written by the band 5 years ago and appearing on their debut album. They were once again joined by Caitlin and Tom.

The following double standing ovation I think said it all. I'm sure with the reception the band received that they will come back to tour the UK very soon. Watch out too for their new album in the spring, it's going to be very special. 

August & After - The Lexington, London (28th June, 2017)


'Stream' Single Launch

A packed Lexington saw the launch of London indie-folk band August & After's new single 'Stream', which is due for release on the 30th June. It is the first release of a series of singles recorded by the band in Paris last October. It also marks the beginning of a bigger and fuller live sound, with Vedantha playing electric guitar rather than acoustic for the first time and the expansion of the band with the addition of keys and drums/percussion (first seen on their last EP Cascades).

The evening was started by special guest London based harpist and vocalist Ellen Reay, who the band first met at university. She performed an eclectic set of covers including 'Song To The Siren' (Tim Buckley), Pitseleh (Elliott Smith), the traditional folk classic 'She Moved Through the Fair' and 'Loving Circles' (Bowerbirds). Ellen also included one of her own compositions about a bad encounter with a man at a bus stop. Ellen had a lovely pure vocal and also used a loop station on some of her songs, looping harp and percussion. It will be interesting to see how she develops this in future performances. 

Then after a short break and to an enthusiastic audience August & After started their release show with the sublime 'Elegy', a track from their 2016 EP 'Cascades' This was followed by a new song, Ned's reflective homage to 'Airports'. An excellent solo by Jordan on this one. Next was the very popular lead single from Cascades 'Wolves', now complete with a new lovely three part harmony arrangement. Always a popular choice is their very catchy cover of MGMT's 'Kids', which was delivered with strength and feeling.

Pride of place went to their atmospheric and personal new single 'Stream', which Vedantha described as like an 'evening on Primrose Hill'. As explained by Ned the song "is loosely about perspective and the unattainability of certain ambitions, set in a ‘space context’." As a teenager, he would write song after song about staring up at the night sky. Some were about love, others about escapism; occasionally there was a fairly technical one about astronomy. "With “Stream”, I wanted to close the chapter of my song-writing life where I obsessed with space/stars, whilst using my childhood dream to one day travel into space as an analogy for my present day struggles to become an indie-folk musician".

The very touching 'Halley' reflected on the shortness and transient nature of human life. It captures the conversation a young Vedantha had with his father about Halley's Comet, which first introduced him to the notion of mortality. Halley's Comet is visible from Earth on average every 75 to 76 years or once a lifetime. 

Next was a tribute to their percussionist Dan who plays regularly with his band 4 Square, a cover of their song 'Digging Song'. This was keep secret even from Dan with a large ? on the band playlist. 'Waltz For Marie' from their debut album 'Embers' is always beautiful live and tonight was no exception.

With it's wonderful acoustic finger-picking 'Vancouver Waves' continues the reflective and personal theme. "You are the calmest wave that I've ever known........Hibernate until I'm on form again. The world can wait another year. Hibernate until I'm ok again. The tidal waves can't follow me here. So I came here to the island. I braved the stormy seas. The air is clear and silent. Far from some tragedies. The sunset's better than a painting. It calms my eyes with ease. But it's the saddest sky....that I've ever seen"

The last song in the main set was 'Salamander' was also from their debut album. Written by Ned and named by Ned's mum.

Very fittingly the encore song was a cover of 'Round Here' by Counting Crows from their 'August & Everything After' album, which gave the band their name.

Tonight's performance marked an exciting new chapter the the band's musical journey. It will be very interesting to see how they develop their richer sound in the coming months.  

Sierra Hull - Bush Hall, London (26th June, 2017)


  • Line-up: Sierra Hull and Ethan Jodziewicz
  • Location: Bush Hall, London
  • Date: 26th June, 2017
  • Website:
  • Review by: Gary Smith

Monday night saw the remarkable first London gig by the Grammy nominated US Country star Sierra Hull, a mandolin virtuoso with the vocals of a young Alison Krauss. She was joined on stage for the performance by another high talented virtuoso musician, the double bass playing marvel Ethan Jodziewicz. The two instruments and Sierra's pure vocals complemented each other perfectly. Sierra and Ethan captivated the audience from start to finish, receiving a very well deserved standing ovation. The performance included many of the wonderful songs from Sierra's Grammy award nominated album 'Weighted Mind', some older songs from her previous albums, some brand new pieces including 'Sundance' and even some JS Bach, Prince and an excellent Loretta Lynn cover included for good measure.

Sierra came to bluegrass very early and she was a remarkable teen prodigy. Alison Krauss called her to the Grand Ole Opry stage when Sierra was just 11-years-old. Two years later, she signed with Rounder Records and soon became known as a remarkable mandolin player, a pure tone-true vocalist and a recording artist of high order. She later played the White House, Carnegie Hall, and the Kennedy Center. She became the first bluegrass musician to receive a Presidential Scholarship at the Berklee College of Music. Her new 'watershed' album 'Weighted Mind' is a wonderful fusion of Bluegrass, Folk and Americana. Produced by innovative banjo master Bela Fleck, it also featuring Ethan providing resonance and rhythmic complexity on his double bass, with the excellent Alison Krauss, Abigail Washburn and Rhiannon Giddens adding their enchanting and world class harmonies.

Before the album's release it was a life changing time for Sierra and this is reflected in the album's central themes "It was a frustrating and somewhat difficult musical period for me," Sierra writes, "but out of it has come a new discovery of myself as a musician and I wouldn't change a thing."

Sierra shares the pain of losing her sense of stability. Having to renegotiate her relationships and about caring very deeply about choosing well. It's full of depth and maturity.

The interplay and arrangements between Sierra's vocals and mandolin playing and Ethan's sometimes bowed, sometimes finger-picked percussive playing was very special indeed. Two musicians of the highest quality making musical magic. At times delicate, at other times deep and haunting, always reflective, thoughtful and very personal.

The tone was set with 'Stranded', a deeply personal song about being adrift in live at an early age. Being in a place where you are not happy, almost stagnating. Wanting to move on and try new things, but others don't want you to change. It echoes with the sad refrain 'Dear 22.....I'm stranded here'. The beautiful and ethereal 'Compass' continues the theme "My skin is old. I need to shed it......Cause there's more to me. I have to let it out.". It's full of wonderful comparisons about losing your way and wanting to break free and change things. Themes which are also explored in 'Choices & Changes' "If you won't go where I'm goin', then I'll have to go alone." and 'The In-Between' "22 years with so much to learn. Too young to crash, but not to get burned."

Packed full of meaning is the title track 'Weighted Mind' "Should I leave or should I lay low, These walls must come down. So much left to figure out. Weighted mind - wasted time. A broken glass that never spills."

We enter into the classical world next with JS Bach's 'Invention No.6 in E Major' moving into an instrumental written by Sierra delightfully named 'E tune'

A new song in the set was the stunning 'Sundance' with it's haunting bowed double bass and fresh mandolin top notes. Sierra next turns to a Psalm about boundless divine presence for 'Wings Of The Dawn'. Heavenly and ethereal with soft hand picked mandolin, deep double bass line and Sierra's rich vocal. The album version has Rhiannon Giddens on backing vocals. 

A Loretta Lynn cover 'You Want To Give Me A Lift' gave goosebumps to the audience and performers alike. The traditional song 'Queen of Hearts' is always a firm favourite and this was segwayed into a lovely self penned instrumental 'Royal Tea'. Written for her mother was the lovely 'Lullaby'.  "I'm too old for a lullaby, but I'll never be too old to cry"

Full length solo Double Bass instrumentals due to the nature of the instrument are often hard to pull off.  'Jostling The Bugs' written in the Nashville summer and performed by Ethan alone on stage was an interesting piece demonstrating the mastery of his instrument.

The thoughtful and personal 'Birthday' was next. "So go ahead and walk with anger and make this girl your only stranger. If love was unconditional, well it ain't no more. Tell yourself that you know best and dwell with pride in your empty nest". From her 2011 album 'Daybreak' came the light-hearted and very catchy bluegrass 'Best Buy', inspired by a trip to electrical store in Cookville, Tennessee.

As the set closes to it's end we enjoyed the hopefully, forward looking and moving on song 'I'll Be Fine'. One of my favourites from Sierra's new album is the excellent 'Black River' and it was very fitting that in was the last song of the set. To get the 'party started' the encore was a wonderful bluegrass cover of Prince's '1999' with Ethan joining Sierra on vocals. 

Sierra reminds me of a cross between the excellent multi Grammy award winning Alison Krauss and Sarah Jarosz. On the strength of this performance it wouldn't be long before Sierra is winning one of her very own. Hopefully the fantastic Sierra and Ethan will return to London very soon.

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