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Blues Music Blog & Promotion

Beyond the Pale – Wayside’s Siren Call to the Void

Dusk to Dawn by Wayside

There’s nothing nostalgic about Wayside’s return—this is a band that never forgot how to bite. With Beyond the Pale, the Minneapolis rock veterans prove their alchemic chemistry hasn’t dulled in their years away; if anything, the formula has been refined into something even more potent.

Dripping in that alt-90s swagger—the kind that seeps into the synapses like a down-and-dirty aphrodisiac—Beyond the Pale pulls you under with primal rhythmic force. Pull away, and you’re left with a stark meditation on life’s only certainty: change. More often than not, those shifts pull us deeper into despair, a truth relayed through smoky, velvety vocal lines that ooze indie rock and roll charisma.

Imagine Velvet Revolver and The Black Keys stepping into uncharted sonic territory, and you’ll get an idea of what Wayside have delivered here. They aren’t just reviving the sound that landed them on the 2002 Vans Warped Tour—they’re letting the years since carve new depths into their songwriting. With their full-length LP, Dusk to Dawn, set to drop in April, it’s clear that their road-worn reflections have given them more to say than ever.

Wayside’s resurgence isn’t about reliving the past—it’s about proving they’ve still got the muscle to pull listeners into the undertow. And if Beyond the Pale is any indication, they’ve got plenty more where that came from.

Stream Beyond the Pale on Bandcamp now.

Review by Amelia Vandergast

JohnnyTheWidower’s ‘My Lady is Gone’ Rains Soul into the Blues

Broken Piano by Johnny The Widower aka The Solar Guy

JohnnyTheWidower, AKA The Solar Guy, doesn’t just touch on loss in My Lady is Gone—he lets it simmer, steeping every note in raw feeling without letting the weight drag the groove down. The Brooklyn-based songwriter, producer, and engineer channels blues, R&B, and afrobeat into a smoky, jazz-kissed atmosphere that feels less like a structured composition and more like a session that caught fire in real time.

With a cohesiveness that gives the impression of a seasoned band rather than a solo project, the track makes space for fluidity without sacrificing precision. The instrumentation carries the kind of ease that can only come from instinct, stripping back the years to a time when music was created for catharsis, not marketability. It’s indulgent without excess, hitting that rare sweet spot where musicianship and emotion are balanced without tipping too far in either direction.

For those tired of surface-level soundscapes, JohnnyTheWidower delivers oceanic depths, leading listeners further out before hitting them with a visceral crescendo in the outro. It’s impossible to walk away unaffected.

 My Lady is Gone is available to stream on all major platforms, including Bandcamp.

Review by Amelia Vandergast

Beatdown Saints – All The Sinners: A Baptism in Blues-Soaked Rock

If you like your rock how you like your whiskey—unadulterated and smooth-pouring—you’ll easily acquire a taste for the low-down and dirty bluesy melodic grooves of Beatdown Saints. With a unique ability to tie your soul in knots when the vocal lines ascend atop of the guitars which pour gasoline over the tighter-than-a-straitjacket instrumental arrangementAll The Sinners is a reminder that rock doesn’t need a reinvention when it’s played with this level of conviction.

Taking cues from the Black Crowes, Grateful Dead, and Gov’t Mule, Beatdown Saints don’t just tip their hats to blues-driven rock—they make it their own with raw energy and jam-band spontaneity. The powerhouse trio of Mike Setzer, Todd Kasper, and Marc Berger deliver a sound that’s as unapologetically fierce as it is fluid, built for both smoky barroom stages and festival spotlights.

With Setzer’s road-worn experience alongside legends like Mike Pinera and Jack Russell, Kasper’s hard-hitting drumming pedigree, and Berger’s incendiary guitar work, Beatdown Saints refuse to play it safe. All The Sinners is a full-throttle showcase of their ability to walk the line between tight musicianship and the reckless abandon that keeps blues rock alive.

Save your rhythmic pulses from damnation and hit play—All The Sinners is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Ged Wilson Spins Everyman Blues into Gold with Regular Man

Like a TARDIS hurling you back to a time when jazz blues grooves knew how to scintillate the soul, Ged Wilson’s latest single, Regular Man, isn’t just another exercise in virtuosity—it’s the sound of an artist who has lived every note. The track carries all the gravitas of a blues lifer, but it is Wilson’s effortless ability to channel boy-next-door charisma through velvety vocal lines that allows him to scribe gold with his sonic signature.

Cheltenham-based but proudly carrying his Mancunian roots, Wilson has spent years pushing the boundaries of the British blues scene, fusing the grit of Lightnin’ Hopkins with the poetic dexterity of Gil Scott-Heron and the warmth of Santana. Regular Man, lifted from his upcoming album of the same name, distils those influences into a track that makes even monotony feel rich with possibility. Swanky in tone and seraphic in execution, it’s a vignette of life’s quieter moments, spun with a nostalgia-laced charm that makes it all too easy to follow Wilson wherever he goes next.

With his feet firmly planted in tradition but his gaze set forward, Wilson isn’t just another bluesman—he’s a “bluesifier,” as adept at breathing contemporary life into the genre as he is at honouring its past. Signed to Bad Monkey Records and supported by Help Musicians, he’s bringing his innovative style to an ever-widening audience.

Regular Man is available to stream on all major platforms, including SoundCloud.

Review by Amelia Vandergast

Jason Patrick X Interview: Striking the First Chord on His Own Terms

Jason Patrick X

With a debut album that refuses to be boxed into a single genre and a musical philosophy shaped by everything from Berklee College of Music to his time in the Army, Jason Patrick X arrives with a sound that’s both studied and instinctive. His approach to songwriting leans into emotion over formula, and his ability to intersect rock, blues, and unexpected influences keeps his music authentically unpredictable In this interview, he discusses the moment that ignited his songwriting ambitions, the lessons he’s carried from his military career into his music, and the personal mission driving his creativity. Whether you’re a fan of guitar-driven anthems or curious about the mindset of a musician crafting his own lane, this conversation is one to read.

Jason Patrick X, welcome to A&R Factory! With your debut single and album set to make waves this year, there’s a lot to unpack about your music, background, and approach to songwriting. We’d love to explore what has shaped your artistry and what listeners can expect from your upcoming releases. 

Absolutely. I appreciate you giving me the chance to do that.

You’ve been playing guitar for three decades and started taking songwriting seriously about ten years ago. What was the turning point that made you shift from playing to writing, and how did your approach evolve over time? 

You know, there was a moment that I remember at a young age, around 13 or so, where I heard an uncle of mine playing a song he had recorded on a cassette in his car. He ran a recording studio out of his garage. And I thought to myself, “I think I could do that.” But I guess the idea had to marinate in my brain for a couple of decades before I finally tried it. There was one fateful day, when I was at my brother’s house for a birthday party. He’s a computer guy, and he was showing me this new software he just picked up called Fruity Loops. It was my first exposure to recording music on a computer. He showed me the basics of how to navigate the software and map out instrument sounds, then I completely disappeared from the party for a few hours. When I finally emerged, I had composed a complete sketch of a song. That was the moment when I figured out that I had something to say that needed to come out.

It took quite a few years of dabbling in it when I had time, realizing that I didn’t really know what I was doing, and enrolling into the Berklee College of Music for four years so they could help me discover myself and develop into the songwriter and producer that I am today. I am a firm believer that Mastery is a goal that is always just out of reach. It’s not a destination where you finally arrive. There’s always another level, a new thing that you can learn, a new skill that you can acquire. I am infinitely better in all aspects of music today than I was four years ago. This is only the beginning of that evolution. I imagine that in four more years, I’ll be making that same statement about today.

Rock and Blues are at the core of your sound, but you’ve played across multiple genres. How do those varied influences manifest in your music, and do you consciously lean into certain styles, or does it happen naturally 

This will be an interesting answer. There was a time when I thought that those genres needed to be kept in separate buckets. Like, today I’m a blues guitarist, tomorrow I’ll be a Latin musician, and next week I’ll be a metal guy. But the more I learned and experimented, the more fascinated I became with the bleedover between these various styles. And I think it is really cool having so many different angles that I can look at the same thing. Maybe see what this gospel progression might sound like pushed to 10 on a screaming hard rock guitar. Or, hey, I wonder what it would sound like mixing a Reggaeton beat with Texas Blues?

There are times when I make those conscious decisions just to push my limits and do some experimenting. But when I get into a track, things happen a lot more organically. Everything I do, I try to do in service to that particular song so that my audience feels something through my music. Many times, I’ll find those influences from other genres slipped their way into a song I was working on after the fact for that very reason. But at the end of the day, if you listen to one of my songs and don’t feel something, as far as I’m concerned, I failed.

As a retired Army Soldier, did your time in service impact your songwriting, either in terms of discipline, perspective, or even the stories you tell in your lyrics? 

Oh, most definitely. The Army taught me a lot. They trained me to pay attention to small details while still keeping the bigger picture in mind. They also taught me how to adapt to changing circumstances since life is always a dynamic thing that you can’t predict. I think all the things I learned in the Army play a role in how I approach music. But more than anything else is a “you don’t stop until the mission is complete” attitude. That’s the whole reason I now have three college degrees, and I’m set to release my debut album. I feel very confident that as my listeners start absorbing my music, they will find nods to my time in the military in the lyrics. What can I say, the Army played a major role in who I am today in all aspects of my life.

You recently completed both a Bachelor’s and Master’s degree in songwriting from Berklee College of Music. What was the most surprising lesson you learned about your own songwriting process during your studies?

Yeah. There were so many takeaways from that experience, but I’ll give you two. One that was echoed by almost every professor I had was, “It’s tools, not rules.” Whether it’s music theory, scales, chord progressions, or whatever rigid thing, you sometimes get too wrapped up in trying to do things the “right way.” We tend to take that to mean following all the rules, which invariably make things too formulaic. This takes all of the soul out of a song. And akin to that was something I know I heard from Prince Charles Alexander, Bonnie Hayes, and Valerie Orth during my time at Berklee. You walk away from Berklee having all this newfound knowledge forgetting that simplicity is where it’s at. Attending Berklee makes you feel like you now have to impress the world with this newfound enlightenment by cramming every little thing you’ve learned into every song you work on.

What I had to keep drilling into my brain was that learning all of that technique is only the first step. That’s learning what the rules are. The second step is, now that you know the rules, you also know how to break the rules, which is the essence of “it’s tools, not rules.” And then the bigger part is that we are making these songs mostly for people who aren’t professional musicians. That’s the people we are servicing, people who just love music. If you make things too complicated by cramming too much into a song, all you’re doing is making the song too complicated for someone other than another musician to enjoy. In other words, the simpler, the better. And if you think about it, it’s true. Most of the biggest hit songs over the last 50 years masterfully employ some of the simplest things to make the most memorable songs ever. And that, amazingly, is one of the hardest things for us as songwriters, musicians, or any creative person to do. Know when to not use that cool guitar riff or drum part that you’re so proud of because it’s actually making the song worse.

With two teenage sons who are also looking to pursue music, what’s the most valuable piece of advice you’ve given them about navigating this path, especially as someone who’s lived through multiple phases of the industry?

What I try to impart to them is to always remember why you’re doing this. It’s your passion. It’s what drives you. Because there are going to be obstacles, problems, people who tell you no, times when you want to give up, and situations where you have to get creative to get out of life what you want. But if you always remember that burning fire inside you to make other people feel something through what you do, it will be what motivates you when you want to give up. In other words, never forget your “Why.” The reason why you have to do this thing. The reason why it is the only thing you can see yourself doing with the limited time you have on this spinning rock we call Earth.

Metallica, Prince, Queen, Michael Jackson, N.W.A., Stevie Ray Vaughan, and Jimi Hendrix are just a few of the artists who have shaped your musical DNA. If you could sit down with any one of them for a conversation, who would you choose, and what would you ask?

Since a lot of them are dead, any one of them could explain to me what happens after death, lol. No, seriously, I would have loved to sit down with Prince before he died. That guy was such a Renaissance man when it came to music. He was extremely skilled in most of it. Something I aspire to myself. I would love to sit with him for a day and have him explain his creative process to me as he was doing it in real time. I think that would have been eye-opening.

Having spent most of your life in South Louisiana, how much does the local music scene and culture seep into your sound, and do you see yourself as a reflection of that musical heritage?

As far as the musical aspects go, without a doubt. From the great musicians that came from Baton Rouge, where I’m from, to the sweet sounds of New Orleans. My grandmother is from the New Orleans area, so NOLA and the sounds of its music scene down Frenchman Street, at Tipitina’s, and just on street corners in the French Quarter have always inspired me and soothed my soul. It’s a very unique sound unto itself. Nothing is quite like New Orleans Blues, Jazz, or even New Orleans Bounce, for that matter. Obviously, I have a lot of influences from a lot of areas, but I think it all started with the sounds of the bayou. I’ve even had people tell me that they had a feeling I was from Louisiana just by the way I play guitar.

With this being your debut album, do you feel a sense of freedom in introducing yourself on your own terms, or do you feel pressure to establish a particular identity from the start?

Freedom definitely. And I have Berklee, and more specifically Patrick Ermlich, to thank for that. What they helped me do was define my musical vision and then turn that vision into an entire brand image. I’ve actually never been more sure about who I am as a songwriter, musician, producer, or artist than I am right now. As far as I’m concerned, the identity, as it exists right now, is solidified. Now, it’s just a matter of people discovering it. I consider myself to be the next iteration of the Gen X sound. I think it takes an actual Gen Xer like me to truly capture the essence of the experiences my generation lived through. And there just aren’t enough new artists out there servicing us and what we grew up on. So I almost feel as if it’s my obligation to bring my fellow Gen Xers and those who are Gen X adjacent something familiar, but in a new way. And the best way to see what that embodiment looks like is to check out my website. I’m not in any way, shape or form a web designer, lol. But I spent a whole lot of time figuring out how to put one together. And I ended up with a product that I’m proud to say I created. So go check it out at www.jasonpatrickx.com. And sign up for my newsletter so you can stay on top of what’s going on as this story unfolds.

Looking beyond this album, what are your bigger ambitions in music? Do you see yourself continuing to push your sound in new directions, or is there a particular musical goal you’ve always had your sights set on? 

I actually already have plans in the works for a second album that I’m hoping to have ready in 2026. I would like to follow up this initial project with more material that will help further define my sound to my listeners. I imagine there will always be some element of guitarwork in what I do. It has been one constant throughout my life. But I do want to push myself. One thing we can always depend on is change. Nothing ever stays the same. And even though I’ve been around for a while, I still want to see who I am as an artist and songwriter continue to evolve over time.

One other area where I see myself doing that is in the sync space, writing music to be synchronized with live action. You know, like movies, TV, video games, ads, etc. If you think about it, the movie by itself is not half as exciting as the movie synced to some dramatic piece of music that accentuates what’s happening. I find that to be a fascinating way of mixing artistic mediums, and I want in. Stream Jason Patrick X’s album on Spotify from March 14. Until then, connect with the artist via Instagram and Facebook.

Interview by Amelia Vandergast

Jo James sparked an insurgence of soul with his vintage-toned blues rock earworm, Peace of Mind

Jo James

With heartfelt plaudits from John Legend and a wave of other admirers, it almost seems certain that whatever Jo James touches will turn to aural gold. The raw power, panache, and precision in the bluesy vintage-toned outburst of rock-licked soul in ‘Peace of Mind’ reveal the depth of his reverence for blues rock.

His ability to electrify senses you never knew existed is unmatched, as is his ability to teasingly pace his songwriting, leaving you on tenterhooks for the next cultivated blast of overdriven rock euphoria. Once you’re through the track, the track will be far from through with you, the infectious melody becomes a compulsion, urging you to revisit the single’s radioactively emotional core.

Beyond the studio, Jo James demonstrates a natural talent for songwriting and commanding a crowd, whether he’s headlining heavyweight stages or pouring heartfelt intensity into more intimate venues. Blending blues, soul, and rock ’n’ roll, he has graced line-ups alongside Dr. John, Leon Russell, and Robert Randolph & the Family Band. He has also lent his guitar chops to Capitol Records’ Fletcher and made waves on Season 17 of NBC’s The Voice.

You can get some ‘Peace of Mind’ when the single officially launches on February 21st.

Find your preferred way to listen via Jo James’ website and keep up to date with the artist’s latest releases via Instagram and Facebook.

Review by Amelia Vandergast

Saint Senara’s ‘Lost Lisa Marie’: Where Sothern Gothic Folk Blues and Ghosts Collide

Saint Senara

Saint Senara’s latest single, Lost Lisa Marie, demonstrates the award-winning singer-songwriter duo’s unrelenting commitment to crafting southern gothic folk with depth and distinction. Since their 2020 inception, their evolution has led to a sound that combines blues rock’s raw intensity, folk’s piercingly poetic imagery, and the atmospheric richness of Americana.

The haunting arrangement in Lost Lisa Marie invites listeners into a vivid sonic panorama. Blues rock guitars, distorted crescendos, and angular riffs collide to create an audibly tactile experience. As the powerhouse chanteuse’s vocals re-emerge over the brash blues-rock climax, her delivery cuts through the chaos with grace, grounding the intensity in rich, emotive clarity.

Far removed from the pitfalls of pastiche, Saint Senara imbue their sound with authenticity and power, allowing Lost Lisa Marie to unfold like a narrative in motion, leaving space for reflection as much as visceral connection.

For fans of blues-soaked Americana and raw poetic intensity, this is a track that will leave your pulse racing out of rhythm and your finger hovering over the replay button. Off the back of their successful headline shows in 2024, Lost Lisa Marie is both a standalone triumph and a stepping stone towards what promises to be an uncompromising future.

Lost Lisa Marie will be available to stream on all platforms from January 31st. Find your preferred way to listen via the band’s official website.

Review by Amelia Vandergast

Alt-Indie Raconteur Mickey Haimes Shines Light on Shadows in his Debut Single, ‘Sunlight’s Exposure’

Mickey Haimes

With his debut single ‘Sunlight’s Exposure’, Guernsey-based singer-songwriter Mickey Haimes signalled that supremacy in the alt-indie scene is his for the taking by blending jazz, blues, and indie rock with the swagger reminiscent of Nick Cave. Supported by BBC Music in the Channel Islands, Haimes offers a candid tale of questionable life choices via an unflinching descent into past experience.

With a distinctive, soulful voice, he could harmonise his shopping list and still leave listeners mesmerised. His rugged yet sweet harmonies infuse smooth grooves with a warmth that only a true conduit of soul can provide. While most artists have to resort to experimentalism for authenticity’s sake, with Haimes, there’s a rare sense that his distinction breeds from unfeigned expression as he exudes a rare originality born from sincere expression.

The intricate, organic layers of ‘Sunlight’s Exposure’ paint a vivid portrait of a soul guarding its own shadow, serving as the perfect introduction to an artist already making major waves before his first official release reaches the shores of the alt-indie arena.

Already recognised locally as Guernsey Street Festival Performer of the Year 2022 and having graced the BBC Introducing stage at the Guernsey Together Festival 2023, Haimes reflected on his songwriting with the observation that “A gritty insight is a useful one, but a playful slant is what brings it to life.”

Sunlight’s Exposure will be available to stream on all major platforms from December 6th; discover your preferred way to listen via this link.

Review by Amelia Vandergast

The Talking Hours cast the first stone in the indietronica blues-rock revolution with the swagger in their latest seminal release, Stop the Sound

The Talking Hours have returned as unrivalled pioneers of post-punk panache after a four-year airwaves hiatus with Stop the Sound, a track from their third LP, Transmissions to Missy. If you’ve ever wondered what The Black Keys would sound like if they traded in their vintage bluesy tones for indie hooks and Arcade Fire-style swagger, look no further.

Mauricio and Karie, the fierce force behind The Talking Hours, weave magnetic indie vocals through a dense fog of percussion and angular guitars that slice through the track with post-punk precision. The visceral rhythm and sharp riffs deliver jolts of energy while the vocals cut through, commanding attention with their arcane deliverances of deadpan drawls and euphonic harmony.

The way the duo push against the constrictions of sonic conformity by pairing rock, blues, and indie elements with electronic pulses amplifies the hypnotic gravity of Stop the Sound. You’ll come for the perfect equilibrium of style and substance, yet it is the emotive anatomy of Stop the Sound which allows it to establish itself as a playlist staple, with the same sense of magnetism as Editors and Interpol in spite of the abstract nature of the lyricism.

Stream The Talking Hours’ LP, Transmissions to Missy, in full via Spotify now.

Review by Amelia Vandergast

Turquoise Willie brought the Southern rock funk in ‘Gonna Make It Alright’

Turquoise Willie funked up Southern soul-rock in a way that sets them apart from every other vintage-toned entity gracing our speakers. ‘Gonna Make It Alright’ is a freewheeling escape into euphoria. With sonics to repair the soul, it’s hard to think of anything that this track couldn’t remedy.

From an intro that echoes the legendary vibes of the Stone Roses or Happy Mondays, the single explodes into a Southern soul-rock groove that’s nothing short of infectious. The track testifies to the power of feel-good rock ‘n’ roll, doing exactly what its title promises. Turquoise Willie riffs with an unholy amount of talent, aiming solely to deliver sonic serotonin to rock enthusiasts everywhere. Embed this timelessly gasoline-soaked hit in your playlists and say goodbye to your dark days for good.

Jason Young and Chris Schiltz, the dynamic duo behind Turquoise Willie, formed in 2015 after a long journey as studio and touring musicians, including stints with the legendary Steve Azar. They found their synergy in a shared passion for keeping vintage roots rock not just alive, but amplified. The result is music that reverberates across the vast expanse of roots music with unwavering authenticity.

Gonna Make It Alright was officially released on November 22; stream the single on all major platforms, including Spotify.

Review by Amelia Vandergast