Browsing Tag

Folk Rock

Simon J Knight Raised the Folk Shanty from the Deep with ‘When the Boat Comes In’

Posted on 15 June 2026

Simon J Knight put the indie folk shanty on a whole new frequency with ‘When the Boat Comes In,’ a sophomore single with enough artfully emotive power to revive the archaic art form. The South Wales-based singer-songwriter brought grief, hope and self-discovery into a sea-swept frame, letting his English Literature background sharpen the lyricism while the performance keeps the feeling raw.

Knight lends the track a spectral presence, setting his imposingly rich vocal tone against a range that moves from deep baritone reverberations to soprano theatricality. That chameleonic vocal command lets him conjure an atmosphere through his vocal cords alone, yet the fret work deserves its own spotlight, giving When the Boat Comes In its jangly, New Wave-indie-esque pedigree.

It’s a mesmerising feat, carrying folk tradition into something stranger, brighter and more psychologically charged. Simon J Knight achieved it all with a sense of authenticity and sincerity as influences from John Martyn, Neil Young and John Lennon move around the edges, while the imagined meeting point between Morrissey and Stan Hugill gives the single its brilliantly uncanny coordinates.

Acoustic intimacy, folk-rock fire and theatrical vocal drama all gather at the shoreline. If this is the sound of Simon J Knight preparing his debut solo album, the horizon already looks loaded with promise.

When the Boat Comes In is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Nick Cody & The Heartache is at the Crossroads of ‘Sweet Songs and Bitter Truth’ with His Latest LP: An Interview

Posted on 10 May 2026
Nick Cody & The Heartache

With Sweet Songs & Bitter Truth, locked, loaded and ready to unleash, Nick Cody & The Heartache arrived at this interview with a record that refuses emotional simplicity.

The album holds protest and tenderness in the same grip, moving from sharp-eyed commentary on political madness to songs shaped by loss, love, mischief and memory. In this conversation, Nick reflects on writing from outrage without losing hope, paying tribute to a dearly missed friend in Another Thin White Duke, and bringing together a cast of musicians who keep the project fluid, soulful and gloriously human. He also opens up about Liz Hanks’ cello adding a fresh emotional shade to the record, the significance of supporting Martin Simpson, and why this release has pushed his writing into even bolder territory.

Sweet Songs & Bitter Truth is built around two very different emotional and political currents, so when you were shaping the album, what made you want to place tenderness and protest side by side rather than keep them in separate worlds?

From observing world events, I found myself heading into “full Billy Bragg” mode commentary about a lot of the craziness around the globe. In the same way at one point I looked at the live set we were preparing and thought “OMG, people have enough doom and gloom in the news, without me reinforcing all the craziness around the globe!” So I decided some balance would be helpful to offer some optimism. It took me ages to come up with a title that would bring these two very different worlds together, but “Sweet songs and bitter truth” really works well. I also had the terrific Sarah Patrick once again create some great visuals for the album,

The first two singles on the LP, The World’s Richest Man and We Are the Many, take a clear-eyed look at the state of the world, so what was pushing hardest on your mind when those songs were written?

“The World’s Richest Man” was inspired by seeing a particular character with a chainsaw on TV gesticulating about what he was going to do and something flipped and I thought “For f**cks sake, what is this?” The line “The World’s richest man, far right on stage” is of course intentional and I will let the listener decide for themselves how to interpret that line…
“We are the many” was inspired by watching a face off on TV between two groups at an immigration in the UK. One group facing off against a right wing group chanted “We are the many, you are the few” I thought “What a brilliant chorus!” and so the song emerged from that.

The single, Another Thin White Duke, carries a dedication to David Bowie Jnr, which gives it an emotional gravity beyond tribute alone, so what did you most want to preserve about him in that song, the musician, the mischief, or the person behind both?

Dave Bowie Jnr was a dear friend and a brilliant musician. He played with a number of other great artists, including Snake Davis and The Ukulele Orchestra. He was witty, mischievous and would always be polite but speak his mind. He is greatly missed and a huge number of people came from all over to his funeral I included all the aliases of the more famous David Bowie and so the track deliberately references both individuals. Agi my longstanding vocalist does a great job as usual on this track. Later this year, we’ll release a version with the internationally renowned Snake Davis who had Dave in his band for many years.

Liz Hanks’ cello seems to open up a very different sonic palette on this record, so how did her presence shape the emotional temperature of the album?

I met Liz when I hosted her and Martin Simpson mack in 2024 and was amazed by her playing, such an amazing touch, Little wonder she is the go too artist for many greats including The Pet Shop Boys, Liam Gallagher, Richard Hawley, James and many other artists. Her cello adds a wonderful soulful touch to the album, so its sonically very different to any other artist contributing to my material to date.

With Agi, Harry Orme, Liz Hanks, Claire Helm, and Andy Wright all part of this wider musical world, what do you think each person brings that keeps Nick Cody & The Heartache feeling alive rather than fixed?

Clair Helm is a dark horse! She can literally sing the phone book and sing anything from opera to rock to roots. We have started on the “Cody/Helm” project for release in 2027. Andy Wright is a seasoned musician who knows exactly when to play and when not to play. I’m excited to be working with them and we’ll be together live supporting Martin Simpson. Harry Orme is a brilliant guitarist which is rock sold and can play anything I throw at him. Agi is a mind blowing vocalist I have been working with for almost nine years and Liz is as I have said a superb musician with amazing feel. I am delighted to be playing with them and they inspire me to create music that I would never have considered possible.

You’re supporting Martin Simpson at The Old Woollen, which is a huge moment, so what does a slot like that mean to you at this point, especially with Sweet Songs & Bitter Truth freshly out in the world as of May 8th?

I love supporting Martin as he brings a listening audience and as a support act you have to bring your A game. This is a great opportunity and I am grateful to Martin for all his support over the years. These days its tough for original artists to reach a wider audience and these windows of opportunity are truly precious and never to be taken for granted.

Looking ahead, do you feel this album has opened a new lane for your writing, one where social commentary and emotional intimacy can keep rubbing against each other in even sharper ways?

100% YES! I am already working on some more protest songs, including “Epic Love” which has a chorus “No amount of make up, makes up for human worth, the worst of the worst to ever walk this earth” As my good friend Martin Simpson would often say “As you can see, I have no strong feelings aabout this matter…

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Discover more about Nick Cody & The Heartache via their official website. 

Interview by Amelia Vandergast

Nick Cody and the Heartache: We Are the Many – Euphony-Rich Folk for the Empathic Masses

Posted on 12 April 2026

Against the backdrop of a fractured Britain, Nick Cody and the Heartache orchestrated a folk-infused uprising in their latest single, We Are the Many. Hailing from the creative hive of Leeds, Cody is a writer who has long earned nods from scene heavyweights like Chris Catalyst, yet this latest ensemble feels particularly vital.

The track redresses the ‘masses against the classes’ energy of the Manics within an accordance of euphony-rich harmony. Alongside Cody’s rallying, Billy Bragg-esque vocals linger the diaphanous timbre of Liz Hanks. Having previously lent her cello and vocal weight to legends like the Pet Shop Boys, Liz Hanks softens the blow of this protestive serenade. She takes the sting out of the inequity which necessitated the release, reminding listeners that some souls still swim in empathy. The radiance of the harmonies in this cathartically pure single is diametrically opposed to the angst found on the other side of the socio-political spectrum, instilled with a grace Reform voters could only hope for. It is a sonic sanctuary for those tired of the status quo.

Taken from the upcoming album, Sweet Songs & Bitter Truth, the track will also feature in the film All Kinds of Crazy.

We Are the Many is now available on all major streaming platforms, including SoundCloud.

Review by Amelia Vandergast

Joe Wilkinson lifted Americana with the wide panoramic pull of Travelin’ On

Posted on 12 February 2026

Over 55k people have already followed Joe Wilkinson’s on his rootsy Americana road through Travelin’ On,, and it becomes instantly clear why. The single and its official video refuse to sit in the shallow space of a dust-swept cruise. Instead, they form an embodiment of the human spirit before it was hemmed in by borders and the quiet illusions of constraint that keep people figuratively and metaphorically stuck in one place.

The honkytonk-kissed swing of the track moves with an effortlessly infectious pull, breaking through ennui with a reminder that no one else is behind the wheel of your life. There is a natural warmth to Wilkinson’s presence, magnetic in its soulful sincerity, carried by 70s piano glissandos, soaring guitar chords, and instrumentals that feel exactly like the instinctive language of a seasoned singer-songwriter who knows how to hold a listener steady.

As Travelin’ On rolls forward, its message is lifted into something that feels lived and breathed rather than performed. It is the kind of track that settles into the bones in the same breath that it pushes you out of stillness, forming its own small rebellion against stagnation.

Wilkinson’s path spans Poughkeepsie, New York City, and Los Angeles, each city carving its own impression into the storyteller he has become. His early chapter alongside Neal Casal set the foundation for the solo work that followed, including a debut album shaped with renowned players such as Leland Sklar, John Ginty, Buck Reid, and Fredo Ortiz. His storytelling pulls from real experience, giving his releases an emotional weight that reaches beyond Americana and into something more universally grounding.

Travelin’ On is now available on all major streaming platforms For the full cinematic experience, stream the official music video on YouTube. 

Review by Amelia Vandergast

YAVENIRIE AMOK birthed ritualistic rebellion from the bones of modern decay in their third single, ‘Obelisque Queen’

Posted on 11 January 2026

Put YAVENIRIE AMOK in a box, and they’ll burn it down as a form of ritualistic rebellion.

Following a sermonic folk rock guitar melody, their third single, Obelisque Queen, hymnally writhes through grungy distortion and psychedelic desert rock twangs of humidity. With vocals that synthesise the spectral style of Siouxsie Sioux with the ethereal ferocity of Florence Welch over Flamenco guitars and white-hot oscillations of transcendental abstraction, the track taps into something intrinsically primal.

It isn’t just a howl into the void, it’s a full-body invocation; a snarl at the gold-plated rot of modern society, where truth is the last thing anyone wants dragged into the banquet hall. While courtiers clink glasses in denial, YAVENIRIE AMOK howl from the gutter, rising sharper and louder as they spit fire back into the faces of the wilfully blind. There’s no apathy here, only arcane heat and a visceral confrontation to protest against how everything has become bastardised since aesthetics overtook ethics and left culture to be gnawed apart by profiteers.

Fronted by vocalist, guitarist and songwriter Zuza Tehanu, and completed by Asia, Tom, and Jan, the London-formed but Polish-rooted four-piece have been shaping their sonic and visual world since 2016. After surviving both personal loss and creative upheaval, they’ve returned from the flames with a sound that refuses definition. Their music straddles the ritualistic and the riotous, the poetic and the prophetic, built on the belief that raw expression can rattle cages and summon spirit back into the art form.

If the recorded material lands like this, the live experience must be nothing short of an awakening.

Obelisque Queen is now available on all major streaming platforms, including Spotify. 
Review by Amelia Vandergast

Nina Mae Harper turned heartbreak into a folk-rooted hymn of release in ‘A Long Time Coming’

Posted on 11 November 2025
A Long Time Coming by Nina Mae Harper

Tender is the timbre in Nina Mae Harper’s mournfully magnetic single, A Long Time Coming. With vocals reverent to the roots of folk, her amorous grief takes on a spectral quality as the instrumentals build into an almost euphoric arrangement, one that carries more lift than any Buddy Holly-style feel-good earworm. Within four minutes, Harper delivers full-blown resolution. What starts as a melancholic reflection blooms into a rapturous unchaining from the ache that comes with knowing life must go on, even if the next chapters won’t be written beside the one who helped shape the last.

The track’s lyrical muscle lies in its slow-burning self-affirmations, each one shaking off the heavy fog of insecurity that lingers in the aftermath of realising you’re not the right fit for someone else’s world. As the folk-rock riff slides in and Harper’s non-lexical harmonies swell with serene transcendence, A Long Time Coming becomes a manifesto of healing. There’s movement in every note, from gentle ache to triumphant clarity, tracing the full spectrum of emotional release.

Now based in Valencia, the Dutch-born, Scotland-bred singer-songwriter has carried her influences from Dylan, Young, and Eilen Jewell into a sound that’s wholly her own. At 46, she’s in the process of recording her debut solo album with Portuguese producer Helder Borges Santos, after years of honing her craft through band projects and intimate live sets. If A Long Time Coming is anything to go by, her first full-length release will be essential listening for anyone who understands the weight of letting go.

A Long Time Coming is now available on all major streaming platforms, including Bandcamp and Apple Music. 

Review by Amelia Vandergast

Gnarly Darling made intimate absolution universal in the gospel of their folksy roots rock release, Drift

Posted on 4 November 2025

In the sweet serenade of the sophomore release, Drift, Gnarly Darling fused rhythm with feeling, the panoramic expanse of Bob Dylan-esque harmonica blows with the gospel-timbred salvation of Hammond organ keys and a voice that was born to resolve.

The release ties together with a tenderness that could never be feigned as the authentically Americana signature finds organic ways to nestle melodic hooks into the arresting tempo of the single that you can’t help but surrender to. Rich with imagery and ingrained with a sense of understanding compassion, Drift proves that Gnarly Darling possess the rare gift of being able to intimately, yet universally, absolve.

Formed around the songwriting of Ryan Feeley, the roots rock quintet is completed by bluesy harp wizard Pete Lassey, the distinctively soulful vocalist Jessi Rigordaeva, rock-solid drummer Gary Goodman, and expressive bassist Eric Turner. Gnarly Darling’s stylistic reach may span jangle, groove, soul and rustic rock, but they never stretch themselves thin. Whether covering familiar tunes or bringing original melodies into the world, they move with an energy built to stir, soothe, and steady.

Drift is now available on all major streaming platforms, including Spotify. 

Review by Amelia Vandergast

‘Bad Day’ by Sinking Ships offered an indie folk portal into the soul of the 70s

Posted on 30 October 2025

Sinking Ships followed up their eponymous debut LP with the release of Bad Day, which dropped on October 24th and fused the rhythmic structures of the Rolling Stones with the seraphic bliss of indie folk nostalgia. As a record firmly rooted in the 70s sound, Bad Day is a vessel of escapism; it pulls you away from the pain of the present, nestles you into the tonal soul of the past, and strips the weight from your bones with vocals that find themselves between the eccentricity of Zappa and the effortless resonance of Bob Dylan.

The vintage soul of the single carries an unshakeable sincerity as it meanders through its wistful progressions. With each chord change, you’re ushered further from the present tense and deeper into the warm glow of a time when rawness was a currency, not a liability. There’s a restraint in the arrangement that gives it breathing room, but never at the expense of the soul that seeps from the folk rock sermon.

Clearly rooted in their commitment to penning timeless soundscapes with meaning stitched into every measure, Sinking Ships aren’t interested in trend-hopping or surface-level sonics. Their ability to strip everything back without sounding stripped down is more than enough reason to implant them on your radar and your playlists.

Bad Day lands as a transportive release that offers refuge to those in need of a sonic time machine to something more organic and emotionally honest.

Bad Day is now available on all major streaming platforms, including Spotify. 

Review by Amelia Vandergast

Psychedelic sadness and soft revolt: July Morning lifted indie folk into the ether on Beacon

Posted on 20 October 2025

July Morning approaches indie folk as a respected art form. In their latest transcendently proggy single, Beacon, the Australian breakthrough band tantalises through instrumental and harmonic timbre, creating a rhythmic lullaby for the disenfranchised who don’t frequently see the end of many olive branches.

From the soft inflexions in the vocals to the way the instrumentals pour as though they’ve never felt the string of restraint, to the seamless emotive expression, Beacon is a single that finds a plateau above shadow and invites listeners there; to a space where sadness and psychedelia combine, creating a tonally masterful escape from the void. Genuinely, it’s one of those rare singles that makes you feel mournful when the outro delivers you back to material reality.

Formed in Eora/Sydney, July Morning occupies a liminal space between prog rock, folk, art rock, and the kind of emotionally literate indie that prioritises poetic provocation over surface-level sensibility. With roots in British dad-rock royalty and a deep affinity for experimental arrangements, they channel everything from post-punk freak-outs to epically composed dirges and aching ballads. But rather than splitting the seams between their eclectic influences, they stitch them together with a rare sincerity that never overstates itself. Beacon marks their continued re-emergence following time away from the scene; they’ve re-entered with something rarer than hype: purpose.

Beacon is now available on all major streaming platforms via this link. 

Review by Amelia Vandergast

Maddisun turns the page: an interview written in chords, confessions, and wildfire wanderlust

Posted on 12 October 2025

In her most intimate project yet, Maddisun lays her heart bare across The Pages — a 12-track album structured like a musical journal, where every song captures a snapshot of emotion, revelation, or hard-won clarity. From the vulnerability of “Open Door” to the hard-fought resolve in “Get Through,” she transforms raw moments into something luminous, guided by the lessons of over 500 shows around the world and the inspiration she found in Nashville’s songwriting heartland. Drawing from vintage folk, Southern rock, and Americana influences, Maddisun reflects on confidence, creative evolution, and the deeply personal stories that shaped this record. In this candid interview, she opens up about turning pain into beauty, building immersive live experiences, and finding balance between wild adventure and grounded reflection.

Welcome to A&R Factory, Maddisun! We’re excited to sit down with you as The Pages makes its way into the world.

“The Pages” feels like a deeply intimate project — what made you decide to structure it like a musical journal with 12 “pages” instead of a more traditional album format?

This whole album felt very journal-esque as I was writing and building everything. So, it kind of just showed itself to me that way. It’s interesting for me with albums – sometimes they just reveal themselves to me and completely take over into a whole world of their own. The creativity and ideas just run wild for me, so I just went with it.

Each track captures a specific moment or feeling — were there any pages that were particularly hard to write, and how did you know when they were ready to be shared?

Yes, for sure. Each track was different to write, of course.

The song “Get Through” took me a while to write. I did it in two separate writing sessions, where the chorus came before anything and I built the rest of the song around that, which isn’t my usual style. I’m one to finish a song from start to finish in the same day. I really wanted to get the words right. Oftentimes I don’t go back and edit songs because the words that come out in the moment usually fit the best phonetically.

You’ve spoken about turning hard moments into beauty — can you tell us about a song on the album that really encapsulates that philosophy?

“Open Door” was written through a bit of a rough time for me. I was trying to be with and connect with people who just weren’t letting me in, and then I came to realize that I shouldn’t be giving my energy and love to people that don’t want to receive it. That was kind of a revelation to me, even though it’s pretty basic.

I didn’t expect this song to make it on the album, but it fit as a perfect transition into the second “chapter/half” of the album, and it really showcases my vulnerability and passion.

You’ve performed over 500 shows across Canada, Ireland, and Los Angeles — how have those travels shaped the sound and soul of this album?

Yes, performing is my bread and butter, and I feel super at home on stage – like I was born to do it. These travels certainly made me more brave in my music – where I am now, anyway. I feel like I have more confidence in my sound, because I’ve gone all over the world to figure it out.

This album was really inspired by my recent trip to Nashville. I spent a few weeks there writing (“The Pages”, “Big Star”, “Your Muse”, “Colours”) and it really made an impact on the sound of this record. I feel like I’ve found my true sound and it’s definitely one of nomadic dreams and adventures!

The record draws on vintage folk, Southern Rock, and Americana influences — what drew you to those sounds and how did they help tell your story?

I’ve always been so deeply inspired by vintage rock and roll and country – this is the music I grew up on! So, it’s only natural that it made its way into my own music.

A lot of my writing inherently starts as either country or like a rock/folk ballad. The folk world is so cool, and I took a lot of inspiration from folk imagery and styles, specifically for the album artwork and photos, but then also female rock icons like Stevie Nicks, Sheryl Crow, and Heart.

You’ve got endorsements from some big names in the guitar world — how important is gear and instrumentation to capturing the emotions you want in your music?

Gear and instrumentation are really important to me, because they’re the tools that help me translate what I’m feeling into sound. Shout out to Aria Guitars and Yamaha Canada for setting me up. I feel so lucky to have their support.

Having instruments that inspire me makes such a difference. The right guitar tone or keyboard patch can completely unlock the emotion I’m trying to capture in a song. At the end of the day, the feeling starts within me, but having the gear that resonates with my style allows me to bring that emotion to life and share it in the most authentic way possible and also allows me to be comfortable and cool on stage.

With the album release show in Toronto and more dates ahead, what can fans expect from your live performances during this new chapter?

My album release show in Toronto was sold out, which was such an amazing feeling! It really set the tone for this new chapter.

Fans can expect my live shows to be more than just concerts. I love creating entire worlds with my music. For “The Pages”, I’ve brought in exclusive merch, lyric sheets that I hand out, and a lot of space for connection and storytelling. I want people to leave feeling like they were part of something truly personal, like we created our own little world. And of course, one of my favorite traditions is ending the night by serving pumpkin pie!

You’ve released three albums and more than ten singles in the past five years — how do you keep your creativity fuelled and your perspective fresh with each project?

I keep my creativity fuelled by really living life to the fullest. Travel and wild experiences are a huge part of my process. I’m pretty much up for anything. But it’s also about balance.

I escape into the woods and mountains in my hometown in BC, and that’s where I process everything. Laying in the hot springs or hiking in nature helps me reconnect with myself, clear my head, and find new perspective. Then I take that grounding energy and combine it with the adventure, spontaneity, and bohemian ‘let’s go for it’ attitude I bring into my travels. That mix of stillness and chaos keeps my music fresh and authentic.

Stream The Pages on Spotify now.

Interview by Amelia Vandergast