Browsing Tag

Blues Rock

Barstool Warmth and 70s-Rock Rapture: Garrett Barbuto’s Lasting On Is Blues-Rock Soul for Anyone Smiling Through the Struggle

Bluesy dive-bar soul radiates from Lasting On, the latest single by the quintessentially magnetic singer-songwriter Garrett Barbuto. Rooted in rock ’n’ roll, blues rock and soul, the track carries the roadworn glow of an artist who learned music through classic-rock radio, forgotten show tunes, glee-club harmonies and the stubborn romance of picking up a guitar at 20 after seeing Glenn Frey command a stage.

With spoken-word intersections that feel like catching a stand-up routine mid-set, Lasting On keeps the audience close before the guitar-driven melodies take hold again, leading into bluesy 70s-rock rapture. Barbuto places communion at the centre of his art, letting the palpable passion for connection consume the release while the melodies stay upbeat and the atmosphere remains infectiously quaint.

The production has a barstool warmth that seems to be fully soul-sourced. Every guitar lick feels scuffed by neon, the vocal sits forward with storyteller ease, and the rhythm section gives the song enough lift to make its harder truths feel strangely generous. Working with producer and songwriter Neil Gunhold, Barbuto has spent years learning how to turn personal geography into songs that feel open-armed, from Northern Ontario roots to Alberta foothills.

As a true-blue troubadour of feel-good, tongue-in-melody folk-rock rapture, Barbuto knows exactly how to make poetry permeate his sessions of soul with easy candour. He has modernised everyman blues for people who need reminding that even those who are smiling are struggling.

Lasting On is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Download’s Future Bill Starts Here: Black River Renegade’s Next Mistake Is Blues-Rock at Its Hardest Hitting

Any playlists featuring Highly Suspect, Royal Blood and Rival Sons would be remiss to look past the latest hard-rock hit, Next Mistake, from Black River Renegade. The Norwich four-piece have taken their modern approach to bluesy hard-rock riffs and sent a rampage across the UK rock and metal scene; Next Mistake alone carries enough force to raze the stagnating monotony of the circuit to the ground.

In the red-hot hit, which becomes a battle of will between sirens and sense, you can hear the seductive serpentine roots of hard rock under the sleek amplification of crashing drums and low-slung basslines. Black River Renegade honour classic-rock influence without embalming it, bringing the form forward through pornographic guitars, sharp songwriting chops and hooks that land straight in the sternum.

Following a busy 2026, including support for A Thousand Horses at Norwich Arts Centre, sets at the Royal Norfolk Show and Aldeburgh Festival’s Big Day Out, plus bookings for HMV Live & Local and the John Peel Centre’s Emerge night, the band’s live reputation is clearly catching up with their recorded output.

If Download Festival ever dared to look past legacy and novelty acts for the top of its bill, Black River Renegade would be a fitting charge into the future of rock.

Next Mistake is now available to stream on all major platforms, including Spotify. 

Review by Amelia Vandergast

Jacob Tell – Stolen Car: Meet Americana’s Tenderest Aural Heartbreaker

If Neil Young drifted into more spacey territory, he would have hits like Jacob Tell’s Stolen Car in his discography. The tenderly cosmic, acoustic-guitar-driven single resounds in the simplicity of its arrangement, allowing each chord change, vocal lift and instrumental swell to feel deliberately exposed

The sustain-soaked, accordant strummed chords occasionally meet chamber-pop instrumentation and glows of gospel timbre as Tell shines through him knowing exactly where to place his vibrato notes, crossing over into Bowie’s influential legacy before the sombre blues guitar solo arrives. That solo approaches the delicate pacing of the single as tentatively as possible; its humbled notes make you lean in to truly appreciate them and the vintage amplification that projects them.

Based in Los Angeles, Tell has already built a sharply defined independent catalogue with Hard To Be Human, his critically praised first studio album, and Under The Influence, an all-covers EP honouring the singer-songwriters who shaped him. Now, as he records Someone To Cry To with producer Don Douglass, Stolen Car points towards something more intimate, closer to confession than commentary.

There is something affectingly resolute about the way Tell scribes his timeless sonic signature; there is no sense that he is appropriating aural history, only an exhibition of how this is how his soul takes creative form. He’s the kind of artist capable of leaving your soul warmer, fuller, and lighter.

Stolen Car is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Ana & Gene – I Feel So Alive: Whimsical Indie-Rock Gospel for the Ennui-Stricken

‘Whimsy’ has become a bit of a buzzword lately, but singer-songwriter duo Ana & Gene have been injecting a sticky-sweet sensibility into a synthesis of indie rock and power pop way before the trend took hold. Their latest single, I Feel So Alive, captures the symbiotic sonic force at their most affecting as they coax their international fanbase away from ennui through melodically infectious instrumentals, layered harmonies and a sense of soul which makes their modus operandi of lifting as many people as possible viscerally palpable.

I Feel So Alive, with its swanky, extended blues-rock-esque guitar solo that leads into lush layered harmonies before a hymnal verse from Ana, is gospel for everyone who won’t find salvation on a church pew, but through a pair of rock renegades who have earned their stripes with a side serving of wisdom, recognising the tragedy of lives lost too soon and the ripple effect of addiction.

Chicago-based Ana & Gene bring serious history to that uplift. Gene Roberts’ gold-certified pop background meets Anastacia Bella’s research-driven, emotionally charged songwriting, with their award wins, Josie Music Awards and ISSA Awards nominations, and indie chart success proving their reach stretches far beyond scene-level buzz.

I Feel So Alive is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Atticus Sorrell Opened a Jazz-Infused Pandora’s Box with the Sepia-Hued Psychedelic Soul Rock in ‘Paper Crane’

Paper Crane by Atticus Sorrell

Always testing how far his roots as an orchestrator of psychedelic 70s soul rock will stretch, each release from Atticus Sorrell is revolutionary, and the sprawling, sepia-hued euphonia in his latest single, Paper Crane, takes nostalgia far beyond its usual orbit.

The way the grooves seem to dance from their own zealous soul volition makes Paper Crane feel like opening Pandora’s box; if Pandora’s box was filled with upbeat piano chops, shimmering organ tones and a rhythm section that leaves your heartbeat knotted around your heartstrings. The blues-rock guitar solo occupying the entire middle eight is a paradox in its ability to leave you hypnotised and adrenalised in the same frenetic breath, while the unfurling, jazz-infused scintillation in each progression feels like a five-minute explosion of pure soul, projected through tender-in-all-the-right-places provocation.

Born and raised in Northeast Indiana, Sorrell has become synonymous with singer-songwriter intimacy through soul, psychedelia, jazz and rock and roll, with Paper Crane leading into his second solo album, Ram and the Bull.

Inspired by the golden afterglow of Mind Games-era John Lennon, early 70s Todd Rundgren, George Harrison, Stevie Wonder, Curtis Mayfield, Roberta Flack, Steely Dan and pre-5 Lenny Kravitz, he writes love as memory, loss and grace. As for Atticus Sorrell’s voice in Paper Crane, he barely leaves any charisma for the rest of us with the sticky-sweet presence he brings to the visceral love song.

Paper Crane is now available to stream on all major platforms, including Bandcamp.

Review by Amelia Vandergast

Word count: 229

Johnny B Interview: Meet the Greek God of Dark Americana

In this exclusive interview, breakthrough artist Johnny B spoke from the point where survival starts feeling too close to sleepwalking, and revealed how This Is Your Life became a renegade sonic awakening. The independent Greek artist built the single around authenticity, self-responsibility and the refusal to follow trends just to fit into an industry that rewards imitation. He opened up about the personal epiphany behind the track, the cinematic alt-rock and dark Americana atmosphere shaped with Daniele Macchi, and the blues-rooted honesty that runs beneath his writing on love, inner struggle, confession and hope. He also reflects on building his path step by step, from acoustic performances to international promotion, while shaping a darker, more filmic future.

This Is Your Life feels like a song written from the exact moment someone realises they have been sleepwalking through their own days. What first sparked that epiphany for you?

I think it came from a period where I realised I was living more on autopilot than with real intention. I was doing what I had to do, surviving the day, but somewhere inside I knew I wanted more honesty, more freedom, and more meaning. This Is Your Life came from that moment of waking up and saying: if this is my life, then I need to take responsibility for it and stop waiting for permission.

The track carries a dark Americana shadow with cinematic alt-rock kinetic energy. What drew you towards that scorched, brooding sound for a song about authenticity and taking control?

That darker sound felt very natural to me because the message of the song is not light or decorative. It is about facing yourself. I wanted the music to feel like a road at night, something raw, cinematic and a little dangerous, but still full of movement. I love rock, blues, Americana and that emotional heaviness where the sound feels human, not perfect. For me, that atmosphere made the message stronger.

You’ve said the single is about refusing to follow trends just to fit in. As an independent Greek artist, how difficult is it to protect your own identity when the industry keeps rewarding imitation?

It can be difficult, because when you are independent, you sometimes feel pressure to sound like what is already working. But I also believe that identity is the only real thing you have as an artist. I am Greek, I have my own accent, my own background, my own struggles, and I do not want to hide that. Trends change all the time, but if you build something honest, people can feel it. I would rather grow slower with my own sound than move faster by becoming someone else.

The lyrics feel direct, almost like a confrontation with complacency. Were you writing to yourself, to someone else, or to anyone who has started confusing survival with actually living?

Mostly I was writing to myself. But when a song is honest, it becomes bigger than you. I think many people reach a point where they realise they are just getting through life, not really living it. So the song is like a conversation with myself, but also with anyone who feels trapped in routine, fear or expectations. It is not written from a place of judgment. It is more like a wake-up call.

Working with Daniele Macchi clearly gave the track a strong atmosphere. What did that collaboration bring out of the song that may have stayed hidden otherwise?

Daniele helped bring out the cinematic side of the song. The original feeling was already there, but he understood how to build the atmosphere around it and make it feel bigger without losing the raw emotion. He gave the track space, tension and depth. I think he helped the song become more like a scene from a film, not just a rock track.

There is a real blues and roots current beneath the rock intensity. How important is that raw, human foundation to the way you write about love, inner struggle, confession and hope?

It is very important. I am drawn to music that feels human, even when it is imperfect. Blues and roots music have that honesty. They carry pain, love, hope and confession in a very simple but powerful way. I try to write from that place too. Even when the sound becomes heavier or more cinematic, I want the heart of the song to stay raw and real.

You’ve been building everything step by step, from acoustic live performances to international promotion. What has staying independent taught you about resilience and self-belief?

It has taught me that you cannot wait for everything to be perfect. You have to start with what you have and keep moving. Some days you feel confident, other days you question everything, but the important thing is to continue. Being independent means you have to believe in the song before anyone else does. It has made me stronger, more patient, and more connected to why I started making music in the first place.

With This Is Your Life now out in the world, what kind of live shows, acoustic sessions or future releases do you want to build around this darker, more cinematic side of Johnny B?

I want to build a world around this sound. More acoustic sessions, more intimate live performances, and songs that carry that same cinematic, honest energy. I like the idea of combining dark rock, Americana, blues and storytelling in a way that feels personal but also powerful live. This Is Your Life feels like the beginning of a direction I want to explore deeper with future releases.

If you’re yet to hear This Is Your Life, dig in on Spotify. 

Interview by Amelia Vandergast

Whipd Beats – Not This Time: a Blues Reckoning of Heartbreak and Heel-Down Strength

Whipd Beats

Few vocalists are truly comparable to Amy Winehouse, but Whipd Beats, AKA Melanie Webb, mined a diamond in the rough when finding one of the kissed by natural talent minority to bring into her weighted with emotion single, Not This Time.

Keeping a balance that’s fine enough to rest upon a pinhead, Not This Time finetunes the art of fusing blues reverence and blues reinvention. Modernised for the contemporary airwaves and audiences looking to be confronted by the unadulterated force of overdriven blues rock guitars and raw vocals that have a distinct way of feeling like they’re reaching out to you personally, yet orchestrated with a pious homage to the rhythm and seduction of blues, Not This Time is a mark-hitting manifesto of fortitude as Whipd Beats summons the strength to draw lines in the sand and put amorous exploiters under heel. Amy Winehouse sits in the bloodline here, alongside Beth Hart and Alabama Shakes, while Melanie Webb, as producer, arranger, and composer, delivers her own bruised-lip truth with electrified conviction.

Based in Perth, Whipd Beats has built an eclectic catalogue spanning house, techno, jazz, hip hop, funk, and blues since breaking through with Afro-house success in 2018. Alongside music, she is also an abstract painter and an advocate for human rights, environmental conservation, and animal welfare.

Not This Time is now available to stream on all major platforms. including Bandcamp.

Review by Amelia Vandergast

starletste_official – Devil’s Dance: A Blues Rock Earworm Turned Serpentine Southern Gothic Aphrodisiac 

starletste_official poured enough gasoline and swagger into Devil’s Dance to raise the temperature of the southern gothic blues scene to something unholy. The deliciously filthy single slinks in like it’s been dredged from a Louisiana swamp, scorched on its way past the altar, and buried alive in a whiskey-soaked ritual. There’s nothing clean about it, and that’s exactly what makes it so magnetic to those who lean towards the darker edges of reality.

The latest release from the rising independent artist, who’s already amassed over 350K monthly listeners, coils itself around staccato blues guitar, foot-stomping percussion, and hand claps that slap like heatwaves. The gravel in his throat grinds against the rhythm section, all while demonic lust rolls off the lyrics like sweat on stained church glass. The friction is addictive. Devil’s Dance doesn’t just reimagine carnal obsession; it rewrites it through serpentine iconography, turning temptation into a twisted aphrodisiac that hits hard, exactly where it should.

While the visuals and viral-ready content across TikTok and YouTube have done their part to build his cult-like following, it’s the sonic bite that earns the real devotion. Through his commitment to authenticity and a refusal to file himself neatly under one genre, starletste_official has found his niche steeped in sin and spectacle. There’s no point trying to resist when he’s already three steps ahead of the curve, lighting fires and exorcising comfort zones with equal measure.

Devil’s Dance is now available on all major streaming platforms, including Spotify.

Review by Amelia Vandergast

SHADOW AND LACE turned global anxiety into synthy blues rock humanism in ‘Nowhere to Run’

SHADOW AND LACE laid down their soul and warning signs alike in Nowhere to Run, a slow-burning symphonic rock requiem for our scorched Earth. With a sound that lets the synths of Grandaddy brush shoulders with the hazy spirituality of Fleetwood Mac, the track is a poetic reckoning set to blues-rock strings and storm-chased harmonies.

Rather than preaching or pandering, Nowhere to Run opens a space for contemplation. There’s an almost sermonic current in the lyricism, yet the tone remains light-touch and human. The arrangement leans into its own introspection, with playful synth lines softening the blow of the heavier truths. In a world where the elements have begun fighting back, thunder doesn’t just appear in the lyrics; it breaks through in the production itself, coiling around the harmonies and striking in time with the beat. The dual vocals act like mirrored soliloquies, each echoing the other in tender despair, refusing to romanticise the warning signs that sparked the track into existence.

Written in response to the worsening climate crisis, the track leaves no doubt about where Shadow and Lace stand. It’s not a song built to soothe, but it’s not designed to burden either. It lets the listener sit with the unease and rise through it, gently reminding us that facing the chaos doesn’t mean surrendering to it.

Nowhere to Run is now available on all major streaming platforms, including Spotify. 

Review by Amelia Vandergast

Bluesy dissent and conscious intent charged Robert Larrabee’s release, ‘Nothing Great Comes from Hate’

Robert Larrabee’s Nothing Great Comes from Hate salved one of the sickest facets of society with its vintage-toned, charisma-soaked defiance. Reverence for the annals of rock n roll and the lineage of bluesy protest tracks collides with a wide-awake social consciousness, making people on both sides of the political spectrum pause and reflect on how their animosity is only causing more friction, leading to more tears in our social fabric.

With all the conviction of Creedence Clearwater Revival’s Fortunate Son and Buffalo Springfield’s For What It’s Worth, Larrabee ensured that his legacy as a stripes-earned rock n roll unreckonable force is one that not only exhibits his talent but creates a ripple effect of consciousness and positive action.

The intentions behind the single run deeper than nostalgia or genre loyalty. After decades striding through international stages, film sets, and theatrical productions, Larrabee now channels his experiences into messages he feels carry weight. His reflections on unity, compassion and inherited responsibility shape the core sentiment of his discography.

The writing draws from memories of relatives who fought for freedoms that were never meant to be twisted into division. That thread ties cleanly into his wider body of work. As a Nashville recording artist and long-standing performer, he has built a signature show, An Evening With The Legends, where live impressions of iconic artists sit beside original material written in tribute to those who shaped him. Across casino residencies, cruise contracts and tours around the US, Mexico, London and Australia, he has honed a way of narrating musical lineage while keeping audiences leaning in.

Nothing Great Comes from Hate is now available on all major streaming platforms; for the full experience, stream the official music video on YouTube. 

Review by Amelia Vandergast