The TV presenter, actor and comedian and his professional partner Nancy Xu found themselves sitting at the bottom of the leaderboard after two weeks, scoring a total of 31 points for their Tango and Samba. In the dance-off, they faced BBC Asian Network radio presenter Nikita Kanda and her professional partner Gorka Marquez.

In a bid to win over the judges and remain in the competition, Les and Nancy performed their Samba to ‘Rock The Boat’ by The Hues Corporation, whilst Nikita and Gorka danced their Charleston to ‘Single Ladies (Put A Ring On It)’ by Beyoncé.

After both couples had danced again, host Tess Daly asked the judges who they wanted to stay in the competition. Craig Revel Horwood, Motsi Mabuse and Anton Du Beke all chose Nikita and Gorka, meaning they made it through to Movie Week on Saturday night.

Head judge Shirley Ballas was not required to vote, but said she would also have saved Nikita and Gorka.

When asked by Tess about his time on the show, Les said: “I’ve had the best time, this lady has been amazing, a great teacher, she’s really put me through my paces.” He added to Nancy, “I did as well as I could for you, I hope! That lot up there, I’m going to miss you so much. I really appreciate and understand the judge’s point of view, thank you so much [to head judge Shirley] for giving me a 10 for entertainment. I hope I’ve entertained, that’s what I came here for. Strictly is the best and the people who put this on, you’re just all amazing!”

Nancy was then asked by Tess how it had it been teaching in the training room with her partner Les. She said: “It’s been a journey. This is such a short but a sweet journey. A lot of challenges we all know, but to see you [Les] every day improve yourself. I respect you so, so much. I just want to say thank you to the judges and all my fellow friends. Thank you Strictly Come Dancing for all of your support. Thank you Les.”

This evening’s results show also featured a fabulous routine from Strictly’s troupe of professional dancers to a medley in tribute to the iconic Tina Turner. Singer-songwriter Jorja Smith also made an appearance, performing her song ‘Try Me’.

Les and Nancy will be joining Fleur East and Janette Manrara for their first exclusive televised interview live on Strictly: It Takes Two on Monday 2^nd October at 6.30pm on BBC Two and BBC iPlayer.

The remaining 14 couples will return to the dancefloor next week for the first themed show of the series – it’s time for Movie Week!

Strictly Come Dancing 2023 will return for Movie Week on Saturday 7th October at 6.20 PM on BBC One and BBC iPlayer, with the Results Show on Sunday 8th October at 7.15 PM.

The post Les Dennis is first celebrity to leave Strictly Come Dancing 2023 appeared first on Entertainment Focus.

Last night our 15 couples were back on the ballroom floor for round two, and this week is where things really start to heat up, with one of them hanging up their dance shoes for good after tonight’s results show.

Presenters Tess Daly and Claudia Winkleman were on hand to keep things running smoothly and soothe the contestants’ nerves, whilst judges Craig Revel Horwood, Motsi Mabuse, Anton Du Beke and head judge Shirley Ballas shared their views on every foxtrot and fleckerl.

It was another standout week with some great dance, but who were our favourites? In no particular order, here’s our top five routines from last night’s show:

1: Ellie Leach and Vito Coppola – Foxtrot to ‘Perfect’ by Fairground Attraction

Ellie impressed with her Jive last week and tonight we got the chance to see what she can do in Ballroom. In a gorgeous ice cream-striped dress, she showed off her acting chops throughout this routine and filled it with humour and fun, as well as having some lovely lines in her arms, nice footwork, great flow across the floor and good control in her spins. There was no gapping to be seen and I thought the storytelling was brilliant throughout. She’s definitely a contender and I cannot WAIT for her American Smooth after this!

2: Nigel Harman and Katya Jones – Viennese Waltz to ‘Until I Found You’ by Stephen Sanchez

It may not have hit the heights of last week’s Paso score-wise, but I adored this routine from Nigel and Katya. For me it felt so gorgeous and romantic, really showcasing his acting skills and there was a tenderness about it I really liked, as well as a very strong emotional connection between the two of them. The storytelling really drew me in and I thought they flowed beautifully across the floor as well. Yes his footwork needed a little refinement, but overall it was another standout performance and should see them safely through to next week.

3: Angela Scanlon and Carlos Gu – Jive to ‘Trouble’ by Shampoo

After a strong start with her Tango last week, tonight Angela got to show us her sassy side with this playful, content-packed Jive. I loved her energy levels and stamina throughout, as well as her sharp kicks and flicks (extra marks for pointing her toes), and her spring and drive through the floor as well. The drunken sailor move and armography were also standouts for me, and it was a huge improvement on her performance last week. She absolutely smashed it – literally with the camera effect at the end! – and I can’t wait to see where she goes next week.

4: Angela Rippon and Kai Widdrington – Foxtrot to ‘You Make Me Feel So Young’ by Frank Sinatra

Angela dazzled us all with her Cha-Cha last week (I’m still thinking about *that* leg extension!) so I couldn’t wait to see what she’d do with a classic Ballroom routine, and she delivered in spades. Channelling Dior’s New Look on a flower-filled set, she made the simple, charming routine look absolutely effortless, with some gorgeous heel leads, nice rise and fall, great frame and the most beautiful smile throughout. It was a classy and sophisticated dream of a performance and the partnership between her and Kai is just so sweet to watch – I actually found myself shedding a tear at the end!

5: Layton Williams and Nikita Kuzmin – Quickstep to ‘Puttin’ On The Ritz’ by Gregory Porter

Closing the show were Layton and Nikita with a cool, slick Quickstep that featured incredible pace across the dancefloor, some seriously impressive leaps and outstanding precision. I could really tell Layton took on board last week’s feedback from the judges as his footwork has improved considerably, particularly in the opening section where his feet were practically a blur throughout, and also thought he had some really nice shapes in his arms. The performance quality was absolutely through the roof again and I loved his energy too, as well as that very impressive high kick! For me it was the dance of the series so far and I cannot wait for him to see him back on the ballroom floor again.

Tonight’s leaderboard was:

Layton and Nikita – 36 (9, 9, 9, 9)
Amanda and Giovanni – 32 (8, 8, 8, 8)
Ellie and Vito – 31 (8, 8, 7, 8)
Angela and Kai – 31 (8, 8, 7, 8)
Bobby and Dianne – 29 (7, 7, 7, 8)
Angela and Carlos – 29 (7, 7, 7,8)
Nigel and Katya – 27 (7, 7, 6, 7)
Adam and Luba – 23 (5, 6, 5, 7)
Zara and Graziano – 23 (6, 6, 5, 6)
Annabel and Johannes – 22 (4, 6, 6, 6)
Eddie and Karen – 21 (3, 6, 5, 7)
Krishnan and Lauren – 20 (4, 5, 5, 6)
Nikita and Gorka – 18 (3, 5, 5, 5)
Jody and Jowita – 16 (3, 4, 4, 5)
Les and Nancy – 15 (2, 4, 4, 5)

When added to last week’s score, the total leaderboard for the first two shows was:

Layton and Nikita – 29 + 36 = 65
Amanda and Giovanni – 29 + 32 = 61
Ellie and Vito – 29 + 31 = 60
Nigel and Katya – 32 + 27 = 59
Angela and Kai – 28 + 31 = 59
Bobby and Dianne – 29 + 29 = 58
Angela and Carlos – 23 + 29 = 52
Annabel and Johannes – 28 + 22 = 50
Eddie and Karen – 22 + 21 = 43
Adam and Luba – 19 + 23 = 42
Krishnan and Lauren – 22 + 20 = 42
Zara and Graziano – 19 + 23 = 42
Jody and Jowita – 21 +16 = 37
Nikita and Gorka – 18 + 18 = 36
Les and Nancy – 16 + 15 = 31

So who do we think will miss out on Movie Week? Personally I’m nervous for Nikita and Jody – but we’ll find out tonight…

Strictly Come Dancing: The Results will be broadcast at 7.15 PM tonight (Sunday 1 October) on BBC One and BBC iPlayer.

The post Strictly Come Dancing 2023 week 2 top 5 dances appeared first on Entertainment Focus.

However, now he’s carving his own musical path as a solo artist, releasing his debut album, ‘Sunshine State Of Mind’, back in 2021. He signed with Big Machine Records last year and is now working on a brand new project, including current US radio single ‘See You Next Summer’ (the acoustic version of which is out today) and ‘Dirt Cheap’ which he recently released to streaming platforms.

Whilst he was over in the UK this week to play at the Jags Country festival at Wembley Arena, I caught up with Brian to talk about his trip across the pond, his memories of playing at C2C back in 2015, his new music and what he’s got planned for next year.

Welcome back to the UK!

Thank you for having me. It’s really good to be back.

How have you found it so far? I know it’s a bit of a flying visit…

No, I love it. Brittney and I, my wife, we’ve had one of the best meals we’ve ever had last night. It was at Sparrow. Unbelievable, unbelievable. Yeah, we just love it here. The architecture, the people, just the energy of this place is special. It’s historic, and there’s pretty good shopping, you know? Hopefully going to add to my suitcase before we leave here.

But obviously the fans are great. When we circled through here in 2015 with FGL, it was just a great time, to see and hear and watch fans live our songs out with us. And I’m just excited to see the reaction to my solo stuff and to be here to represent myself and my family is extra special. I’m just so grateful to be included on such a special weekend, NFL here in the UK. I mean, that’s wild. It’s so big, such a big idea, a big moment. So I’m happy to be here.

You’ve mentioned coming over here for C2C back in 2015. Have you got any particular standout memories or highlights from that trip?

Yeah. I mean, you kind of hit five locations pretty quick. And here, London, we were here the longest, I wanna say two or three days. But it was awesome just to see people singing and shout back our songs, and just see new places, different landscapes, different cities, different types of people. It’s beautiful. It’s like… I want my eyeballs to see as much as I can, and it’s just really fun.

So I remember we went to Nobu, me and Brittney on a little date night. That was a blast [laughs]. That was a dang good time. But no, the people make the place. That’s what it’s all about. And so you just never forget the way that people look at you and the way that people talk to you and how they sound when they’re singing. Those feelings are forever.

You’ve been over in the UK this week to play at the Jags Country festival. For people who haven’t seen you live before, what is a typical Brian Kelley show like – if there is such a thing?

You know it’s honestly ever evolving. And I think that’s due to the music and due to continuing to push myself with songs, songwriting, vocally. Trying to create moments with each new song that’s added to the set. I wanna say that I try to bring a lot of energy and a lot of fun. Depending on the songs – I’m not gonna sing ‘Boat Names’ and run around on stage. But I wanna be intentional with every song and create great moments with every song. So there’s gonna be high energy, and there’s gonna be great energy that I hope you feel. Maybe it’s a slower song, but I hope you feel it through my voice and my inflections, and the way I carry myself on stage.

We’ve worked really hard on where we’re at in my career, kind of starting over in a sense, to build a light show that’s maybe above where I’m at. So visually, sonically – the band kicks ass, I’m so proud of my guys, they’re all working really hard. And yeah, we’ve got some cryo, that smoke that comes up, we’ve got that on a couple of songs. Really fired up about that. So a little bit of everything. And looking forward to at some point when the show gets bigger to having some screens on there, some video, stuff like that. I’m not there yet. But really proud of my team and what we’ve built so far. I’m excited.

We’re trying out new songs in the set that are unreleased. I think that’s a big deal. That’s notable. I love my solo outlet. One reason is sometimes I like getting a little wild hair. And it’s the freedom of having written a song that day and then trying it out that night, is kind of like a drug in a sense. It’s a little wild, and I think fans love that. And I want fans to know when they come to a show it’s maybe never really gonna be the same exact show. And I think that’s what’s gonna keep the fans around, what’s gonna keep me interested in the show, and continue to challenge myself, push myself, and make myself a little uncomfortable. Whether that’s having to learn a new song immediately, and… dang I don’t know, but wanting to try. That’s a long winded answer but I’m excited about it [laughs].

Are there any songs you’re particularly enjoying playing live at the moment?

Yeah. There’s a song called ‘How We’re Livin” that’s just a good old fashioned banger of a song. It’s a party song, it’s a lifestyle anthem. Not comparing myself vocally or career wise to Hank [Williams] Junior, but something maybe Hank would’ve sang. So that’s kind of that song. I love that. That’s been really fun to play and it’s really fun to see people’s reaction to that one.

I wanted to ask you about ‘Dirt Cheap’ which you’ve just put out on streaming services. Can you tell us a bit more about that?

Yeah, my label sent me that song, and I heard it, November last year. It was on a link of maybe 10 or 12 songs they’d put together. And they had asked, “hey, are you open to songs you didn’t write?” and I said, “yeah, absolutely”. ‘Sunshine State Of Mind’ I co-wrote every song on. That was a goal of mine and that was written in a time when life was shut down. Covid was running wild and it was just a weird time, and music was my medicine. It was therapy for me to make that record. I’m so proud of it. But fast forward to current day, couple of years later, so many things have changed since I made that record.

And so I wanted to approach what I believe I’m making as my true debut record with a different mindset. You know, just free myself from having to be so controlled of “I have to write everything”. I did that. That was a goal of mine, cool, done. Alright, now I’m gonna build a true solo career, let me get the best songwriters I can find, let me write the best songs I can. There’s a pile of those on there too.

But I love supporting the songwriting community in Nashville, and I love great songs. I’m a song hunter. Whether I wrote ’em or not, I love songs that you just can’t help but sing. And sometimes you’re the voice and the writer and sometimes you’re just the voice. And to me, kind of removing myself from having that to matter so much is a great feeling. And I’m kind of following a little bit of the business plan or the path of some of my idols, and I’m cool with that. It doesn’t matter. Take the ego out of that process, and I believe I’m gonna wind up with better songs.

And this was kind of asked earlier – I want my fans to know, whether I wrote it or not, I believe if you look at my album, the one that I’m making, it’s like, if you don’t look at the liner notes you’re gonna think I wrote everything. Because every song I’m singing, everything matters to me. And every song has me in it. I’m not just gonna record a song because I think it’s a hit. I’m just not gonna do that. I’m looking for hits but it’s gotta be Brian Kelley. Just on a deeper level, it’s gotta be a soul song. It’s gotta mean something to me, it’s gotta resonate. And in essence, I think that’s what leads to it resonating with a lot of people. That’s the goal.

The other song I wanted to ask about was ‘See You Next Summer’ which is your current radio single. Did you know that song was going to be special when you first cut it or has it surprised you how well it’s done?

That one, that was a little different. I knew I loved it when I heard it. I didn’t know if we were gonna record it in the first batch of two songs that we first cut. It wasn’t until we were at Luke Bryan’s little festival in Cancun, Mexico, Crash My Playa – we were having some margaritas by the pool, we were talking songs, me and my manager and Brittney and some of the bandmates. We were like, “‘Dirt Cheap’ is definitely getting cut”, and kind of wanted a little bit of apples and oranges in terms of those first two.

We knew we were gonna cut a ton more songs, but I just loved ‘See You Next Summer’ in a sense that I have lived that song. I am currently living that song. Me and Brittney are going on 10 years of marriage this December. And it’s a forever kind of love song, ‘See You Next Summer’. It’s not just a summer love song. I think humans, we’re all looking for love. And so that one, once we decided “that’s going in the first batch”, it was a no brainer. And then once we got in the studio, and really brought that to life, everybody was like, “this has to go first”, and I was like, “cool”.

We were waiting, and I was waiting and wanting, when we were ready to go to radio, I wanted the whole team – this was a goal of mine, I didn’t vocalise this but I was waiting for everybody to be like, “this is the song that’s going first”. I wanted everybody’s approval and everybody to be like, “this is the song, this can’t wait, this has gotta go first” and that ended up being ‘See You Next Summer’.

I just love, not only the storyline, but I loved the production. I love the drop chorus at the top of the chorus. First chorus it’s a vocal and piano, and then into that hook on the title – it blasts with mandolin, banjo, guitar, it’s got some steel in there, and then a massive guitar solo and that bridge. It’s got a lot of energy in that song and it’s also got a lot of dynamic. There’s that release of the payoff and the hook is powerful. I felt like it would be a great addition to a live set, and hopefully radio would love it and they do. It’s just been a blessing. I love that song.

Is that approach of having variety and mixing things up a bit something that’s quite important to you with this new album?

Yeah, not too different. You know, ‘See You Next Summer’ kind of has a double meaning. It’s like the song ‘See You Next Summer’ and then literally “see you next summer” ’cause that’s like the last beachy song I got coming for a second. Everything else is a little bit different. But not too sonically different. I think everything that I’m working on and making fits on the same project.

I also wanted to ask a little bit about the Tribe Kelley brand you and Brittney run together. Tell us a little about that and how it came about..

Yeah. Tribe Kelley was birthed on the bus, really our first year of marriage. We got a bus, our own bus, 2014 was our first year of marriage, and it started with her customising my clothes, her clothes on the road, our band’s clothes and everything like that. We launched our first collection on our one year anniversary, that December. And it’s a lifestyle brand. It’s based on travel, athleisure, outdoor. It’s based on chapters of our life, what we’re going through and what we’re living through and what we’re up to.

And so where this new collection kind of finds us, oddly enough, it goes hand in hand with a lot of my new music. And this collaboration with Mossy Oak, the famous camouflage company, it’s our favourite and she reached out to them – it’s kind of her brainchild. We were like, “hey, we’d love to use a print of yours in some of these fashion pieces and these Butter sweats that we’re getting really well known for”. Just kind of excited to push the needle and do something different and I couldn’t be more proud of Brittney and what she’s been able to create. I’m lucky to create alongside of her and kind of be along for the ride. She’s absolutely killing it.

And I love this collection. We just did a photo shoot about a week ago, and I really believe it might be our best collection yet.

Lastly – what do the next six months look like for you?

We’re really working on honing in on our tour schedule, getting a bunch of shows locked in, getting as much music as we can out, and just trying to shake as many hands of fans as I can and just keep hittin’ it. Trying to continue to write, even, as much as I can, and just music focused on building a career that can last. Just continuing to push myself.

Brain Kelley’s latest song, ‘Dirt Cheap’, is out now on Nashville South Records/Big Machine Label Group LLC.

The post Interview: Brian Kelley on new music, C2C memories and 2024 plans appeared first on Entertainment Focus.

The nine-track project opens with ‘Something ‘Bout A Sunset’, which mixes heavy guitars with soft vocals over a pulsing beat and bags of vivid imagery, before picking up into a big soaring chorus. There’s a yearning in the lyrics as the band sing about ‘mak[ing] it last forever’ and a desire to head out west alongside a sense of fight (‘going down but it ain’t done yet’), as well as a killer guitar riff on the bridge that really elevates. it’s the type of song that’s going to have great energy as a live track and a great way to kick things off.

One thing that stood out to me on the record is the sheer range of sounds and musical styles the band use in their work. ‘Heart Attack’ is a stompy, twangy number about falling in love across a bar with some clever wordplay and plenty of punch – as well as a fantastic banjo solo from Barton Davies – whilst ‘Feel For You – Dusk’ has more of a folk influence initially that balances the smooth vocals and smart lyrical callbacks before picking up into a Zach-Bryan-goes-electric guitar riff. Elsewhere, ‘Whiskey Dreams’ has a grungy vibe and a raw, regret-tinged lyric of dancing away one’s troubles, and the midtempo ‘Young Forever’ leans heavy on the harmonica with its wistful images of ‘painted stars and mason jars’ that shows off the richness and quality of the band’s musicianship.

For me one of the highlights is ‘Mama, I’m Misbehaving’. It opens with a rattling, atmospheric intro that builds up from a sparse melody into layers upon layers of sound, and there’s an introspective self-awareness in the lyrics that stands out from the rest of the project, with a narrator who sings about knowing full well what they’re doing isn’t working but not being able (or not wanting to) stop. I also really liked the spoken word section midway and there’s something about the structure that puts me in mind of classic 90s rap and hip-hop songs. It’s something of a departure from the other songs here and something I’d definitely be interested to see them explore further in the future.

The record closes with three tracks that in my view really tie the whole thing together. The driving beat and rock-influenced chorus of ‘Goodbyes Are Sad’ has a nostalgic feel, with its lyrics of leaving one’s home town after high school or escaping a breakup, before the shift into the upbeat, bright melody of ‘Lonely In This Town’ with its lyrical twist and details of the ‘good luck feather you tied to my rearview’ and stars ‘like a million little diamonds on the river’. You feel like you’re really immersed in this small town and the catchy, anthemic chorus will stick in your head so much that you almost don’t notice the introspective lyrics until you’re fully singing along to them.

Things come full circle with the last track, ‘Opposite Directions’, which brings the band back to the acoustic, folky approach they showed glimmers of elsewhere. There’s a warm, mellow feel about the song which is balanced out by its lyrical theme of letting go (‘she took the mountains, I took the prairies’) and I like that it echoes back to ‘Something ‘Bout A Sunset’ with its lyrics about heading west. There’s a real maturity to it that shows a tremendous amount of depth and it definitely finishes the whole thing on a high.

Overall Boy Named Banjo have delivered a strong body of work that’s sure to sound great live and is packed with singalong choruses that worm their way into your ears instantly, as well as showing off their incredible musicianship, vast array of musical influences and intelligent, knowing songwriting. It’s a real melting pot with something to appeal to everyone and should see them winning over plenty of new fans. If I had one criticism, it perhaps needs a few softer moments, but this is a great introduction to their sound and I’m excited to see where they go from here.

Track list: 1. Something ‘Bout A Sunset 2. Heart Attack 3. Feel For You – Dusk 4. Young Forever 5. Whiskey Dreams 6. Mama, I’m Misbehavin’ 7. Goodbyes Are Sad 8. Lonely In This Town 9. Opposite Directions Record label: Mercury Nashville/UMG Records Release date: 29th September 2023

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Music festivals have become a global phenomenon, attracting thousands or even millions of attendees each year. They serve as platforms for artists to reach larger audiences and create memorable moments that transcend time and place. Some festival performances are etched in the collective memory, becoming benchmarks for excellence in live music. The C2C festival in London each March has become the most iconic Country music festival outside of the USA in the decade plus that it has been running. As we approach the announcement of the 2024 line up we thought it might be worth looking back at some iconic moments. But first, let’s spread the net wider and look at the most iconic festival moments in music history.

Woodstock (1969) – Jimi Hendrix

Jimi Hendrix’s rendition of “The Star-Spangled Banner” at Woodstock in 1969 is widely regarded as one of the most iconic moments in rock history. His electrifying and distorted interpretation of the American national anthem captured the spirit of a generation and the turbulent times. Hendrix’s performance at Woodstock not only solidified his status as a guitar virtuoso but also symbolised the countercultural movement of the 1960s and its resistance to authority. It remains a symbol of the era’s social and political upheaval.

Live Aid (1985) – Queen

Queen’s set at Live Aid in 1985, held simultaneously in London and Philadelphia, is often hailed as one of the greatest live performances in rock history. Freddie Mercury’s charismatic stage presence and the band’s flawless performance captivated the massive global audience. The performance not only raised millions of dollars for famine relief in Africa but also demonstrated the power of music to unite people across borders and cultures. The band’s set is still celebrated as a defining moment in rock and philanthropy.

Monterey Pop Festival (1967) – The Who

The Who’s performance at the Monterey Pop Festival in 1967 is remembered for its explosive finale. Pete Townshend smashed his guitar, Keith Moon kicked over his drum kit, and the stage erupted in flames. This display of raw energy became a defining moment in rock and roll history. This performance at Monterey Pop set a new standard for stage theatrics in rock music. It marked the birth of the “destructive” rock star persona and had a profound influence on subsequent generations of musicians and performers.

Coachella (2018) – Beyoncé

Beyoncé’s headlining set at Coachella 2018, often referred to as “Beychella,” was a dazzling showcase of talent, creativity, and cultural significance. It featured a marching band, dancers, a powerful message of Black empowerment, and a surprise Destiny’s Child reunion. The set redefined the possibilities of what a festival headliner could achieve. It celebrated Black culture, feminism, and the art of live performance, inspiring a new generation of artists to aim higher in terms of artistic ambition and social commentary.

C2C’s Most Iconic Moments

Drake Milligan (2023)

Everywhere this Texan honky tonker went last year a little cloud of happiness and joy went with him. Whether you saw him at his raucous Indigo set or upstairs, late at night rounding off the evening with a sweaty, frantic set in All-Bar-One you were left in no doubt as to just what a charismatic and talented performer Drake Milligan was. He left it all up on stage each time he performed and spread such a sense of fun that it would be great to see him given a chance up on the main stage next year.

Zac Brown Band (2014)

The Zac Brown Band came, they saw and they rocked the C2C festival in 2014. Taking the arena by the scruff of the neck they played a bombastic set full of iconic songs and surprise covers. Ending their main set with a cover of Metallica’s ‘Enter Sandman’ showed the London crowd just what a versatile band they were and then further covers of Led Zeppelin’s ‘Kashmir’ and Charlie Daniels’ ‘The Devil Went Down to Georgia’ meant that their headline show ended with the audience somewhat breathless and with ringing ears!

Kip Moore (2015)

Moore’s debut UK show was largely played to an audience unfamiliar with his work. Nearing the completion of second album, ‘Wild Ones’ Moore took to the stage with most of the audience (apart from us given we had owned a much-loved CD copy of ‘Up All Night’ for the previous 3-4 years) in their seats but that wasn’t the case come the end of the set. The UK took Kip Moore to their hearts based on this one set alone and his promise to sign autographs in the foyer after is still the stuff of legend and saw him stuck inside the O2 arena for a long time after most of us had gone home!

Ashley McBryde (2018)

McBryde’s presence at the C2C festival in 2018 was nothing short of messianic. Everywhere she went the crowds followed in her wake and her set at the Indigo on the Saturday afternoon is still regarded by many as ‘THE’ best moment in C2C history. Hearing songs from her (then) upcoming debut album performed with Ashley’s unique sense of style, charm and humour was an absolute privilege and we also got to hear ‘Fat and Famous’ performed on request, a song she said she was in the process of ‘retiring’ at the time.

Keith Urban (2019)

Urban made his C2C debut heading in some style in 2019. He’s an infectious performer to begin with but he attacked the main stage with a sense of intensity and verve not often seen by anyone in any genre. Playing a greatest hits set, Urban wowed the crowd with his charisma and brought the house down in terms of audience participation and engagement. A truly electric performance from an entertainer at the peak of his career.

Lets hope the 2024 line up has the same level of intensity and engagement! The line up announcement should be coming in the next few weeks.

The post Iconic festival performances and the best moments of the C2C festival so far appeared first on Entertainment Focus.

Thanks to AMC Theatres Distribution and its sub-distribution partners, fans worldwide will have convenient access to enjoy ‘Taylor Swift | The Eras Tour’ concert film at affordable prices. This global release announcement ensures that millions of music enthusiasts worldwide can partake in this groundbreaking concert film.

Already scheduled to screen in over 4,000 movie theaters in the U.S., Canada, and Mexico, including all AMC locations in the United States, the film has generated unprecedented excitement since its initial announcement on August 31. Within less than 24 hours, ‘Taylor Swift | The Eras Tour’ concert film broke AMC’s U.S. record for single-day ticket-sales revenue—a remarkable milestone in AMC’s 103-year history. The overwhelming demand for the film made it clear that an immediate worldwide release was necessary.

In Europe, the film will be showcased at every ODEON Cinemas location, offering fans across the continent a chance to experience Taylor Swift’s tour-de-force performance. Additionally, AMC and its sub-distribution partners are actively working to secure agreements with additional cinema operators worldwide to ensure the film’s availability to audiences everywhere.

This global expansion of ‘Taylor Swift | The Eras Tour’ concert film is set to bring Taylor Swift’s electrifying stage presence and musical artistry to fans across the globe, making it a cinematic event not to be missed.

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During these special evenings, Geddy Lee will open up about his life in an extraordinary way, offering a rare glimpse into his personal journey. From reflections on his family and childhood to a deep dive into the history of Rush, the determined pursuit of music, and his cherished memories of lifelong friends and bandmates, Alex Lifeson and Neil Peart.

Onstage, Geddy Lee will be joined by a special guest interviewer. Together, they will delve into key passages from his forthcoming book, ‘My Effin’ Life,’ sharing thoughts and stories drawn from his life experiences. Fans will also have the opportunity to participate in a unique Q&A session, allowing them to ask Geddy Lee questions directly.

Reflecting on his memoir, Geddy Lee commented, “Writing this book has meant spending so much time living in the past.” He continued, “I’ve never lived my life looking anywhere but forward, which is why I resisted doing this kind of thing for so long. Being in a band all those years was reassuring because it was an ongoing thing. It felt like it was forever. There was always unfinished business: the next record, the next set design, the next tour. It’s been the theme of my life. But you need a lot more determination to proceed in the world of music without the comfort of your bandmates, and I can only hope that finishing this book will release me to return to what I do and love best.”

The UK tour will commence in Wolverhampton and conclude in London, with North American dates to be announced in the near future.

Each ticket purchased for the UK tour includes a copy of Geddy Lee’s book, courtesy of tour partners Waterstones (www.waterstones.com). Tickets will be available for purchase on www.rush.com/geddylee/.

UK Tour Dates:

• Sunday, December 10th, 2023: Wolverhampton, The Civic at The Halls
• Wednesday, December 13th, 2023: Sheffield, City Hall
• Thursday, December 14th, 2023: Glasgow, Royal Concert Hall
• Sunday, December 17th, 2023: Portsmouth, Guildhall
• Monday, December 18th, 2023: London, Barbican

Ticket Sale Dates:

• Pre-sale (Barbican members): Wednesday, September 27th, 2023, at 10 am BST
• Venue Pre-sales: Thursday, September 28th, 2023, at 10 am BST
• General on sale: Friday, September 29th, 2023, at 10 am BST

Don’t miss this exclusive opportunity to join Geddy Lee in an unforgettable conversation about his life, music, and the stories behind ‘My Effin’ Life.’ Get ready to embark on a remarkable journey with one of rock music’s most iconic figures.

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Tickets for the shows, which will feature special guest Marty Stuart & His Fabulous Superlatives, will be available for pre-sale starting this Wednesday, September 27 at 10:00am local time with general on-sale following this Friday, September 29 at 10:00am local time. Full details can be found at www.chrisstapleton.com/tour.

The newly confirmed dates add to an already extensive tour schedule for Stapleton, who will continue his “All-American Road Show” through this fall and will join George Strait for several stadium shows next year. See below for the complete tour itinerary. 

The upcoming performances celebrate Stapleton’s highly anticipated new album, ‘Higher’, which will be released November 10 on Mercury Nashville (pre-order/pre-save). Produced by Dave Cobb, Morgane Stapleton and Chris Stapleton, ‘Higher’ was recorded at Nashville’s RCA Studio A and showcases his supernatural voice and musical versatility across 14 songs that defy genre.

May 4, 2024—Indianapolis, IN—Lucas Oil Stadium#
May 11, 2024—Jacksonville, FL—Everbank Stadium#
May 25, 2024—Ames, IA—Jack Trice Stadium#
June 1, 2024—Charlotte, NC—Bank of America Stadium#
June 8, 2024—East Rutherford, NJ—MetLife Stadium#
June 29, 2024—Salt Lake City, UT—Rice-Eccles Stadium#
July 13, 2024—Detroit, MI—Ford Field#
July 20, 2024—Chicago, IL—Soldier Field#
October 16, 2024—Manchester, England—AO Arena~
October 17, 2024—Glasgow, Scotland—OVO Hydro ~
October 20, 2024—Dublin, Ireland—3Arena~
October 22, 2024—Birmingham, England—Utilita Arena~
October 23, 2024—London, England—The O2~
December 7, 2024—Las Vegas, NV—Allegiant Stadium#
*with special guests Margo Price and Nikki Lane
+with special guests Charley Crockett and Nikki Lane
#with George Strait and special guest Little Big Town
~with special guests Marty Stuart & His Fabulous Superlatives

The post Chris Stapleton announces tour dates for America and the UK: Pre-sale details here. appeared first on Entertainment Focus.

Listen to the full conversation anytime on-demand at apple.co/_TodaysCountry.

Ashley McBryde Tells Apple Music About ‘The Devil I Know’ Album Cover

Blackout Betty is on the couch. There is basically regular street Ashley looking at her. There is observer Ashley behind the piano. There is a fully glammed version that is tossing a pancake at somebody. And then there’s the Ashley in the middle with a cup of tea. But in this frame, because when you open the album, it’s band and crew, and there’s an Easter egg for every single song on the record. There’s an Easter egg inside this picture. Once you’ve listened to the record, you can look at the picture and go, “That’s why that’s on the floor.”

Ashley McBryde Tells Apple Music About a Specific Line from ‘Blackout Betty’

There’s even a line in Blackout Betty that says, “Why can’t I have just one glass of wine? Hey, I’m a real piece of s**t sometimes.” And at the time, I was. Pretty often. But you’ll hear it in context and you’ll be like, yeah, it’s kind of said in a jabbing you in the ribs kind of way… And I know that my therapist would be like, “We’re not going to say that I’m a piece of s**t sometimes. We can say I’m messy, we can say I’m complicated.” But at the time, it was absolute truth. I mean, I wrote the song hung over.

Ashley McBryde Tells Apple Music How ‘Blackout Betty’ and ‘6th of October’ Are Related

I do love that at the beginning of “Blackout Betty,” right in the first verse, because these songs weren’t related until I put them together on this record, but she says, “What time did you throw up?” The very first line of the 6th of October is, “I threw up this morning in Christiansburg, VA.” So at the time, this song is written with CJ Field and Blue Foley and myself. We’re at my house. This is back when I lived out in Watertown, out in the middle of the woods. And we had a co-writer and best friend, Randall Clay, that had passed away. And this is probably six or eight months after he passed away. And we are on the porch to write together. We’re not going to write about Randall. We just want to kind of invite his spirit to be with us… On the last verse, we thought, if Randall were here on the porch right now, what advice would he give? I won’t recite it because it’ll make me tear up. And that’s how the record ends. So there’s so much advice on the record. And then I was like, the record has to end this way.

Ashley McBryde Tells Apple Music About Being More Than 450 Days Sober

KELLEIGH: Do you want to talk about where you are with drinking?

ASHLEY: I didn’t check the counter and I haven’t, but it’s 450 something days. I think the last time I sat with you, it was 100 days.

KELLEIGH: 100. It was 100.

ASHLEY: What a white-knuckled time to sit down and talk. But I didn’t really want to talk to anybody about it even lightly until a year had passed because I was like, what if I screw it up?

KELLEIGH: Oh, so much-

ASHLEY: But it’s so wonderful.

Ashley McBryde Tells Apple Music Why She Got Sober

Turns out it was just really detrimental. And then when you’re finding out the reasons that you’re going so overboard all the time was because of your inability to feel something that your brain was like, I can’t do it. I can’t do it. I’m like, well, that’s weak. I’m not going to accept that. I’d rather just hurt. This morning I was at the boxing gym working out with my coach. We were doing something that was hard, and he said, “Are you okay? Do you need a break?” And I said, “I know how to hurt.” I do now. I mean, I knew how to hurt before and add extra to it for no reason. And now, when I’m uncomfortable, I say out loud, “I know how to be uncomfortable.”… This conversation is hard. That’s okay. I know how to have a hard conversation… And I don’t have to go hide because I’m not a weenie. When I was like, “You have no idea how much I can drink. I can drink you under the table,” what an awful thing to admit. You are so weak that you have to drink an entire bottle of anything instead of just feel what you feel.

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After being paired with their professional partners last week, this year’s cast of celebrities took to the legendary Elstree dance floor for their debut performances.

As usual hosts Tess Daly and Claudia Winkleman were on hand to guide us – and them – through the evening, whilst judges Craig Revel Horwood, Motsi Mabuse, Anton Du Beke and head judge Shirley Ballas shared their thoughts on every heel lead and high kick. The show also featured a dramatic opening routine from Strictly’s troupe of professional dancers, set to Tears For Fears’ ‘Everybody Wants To Rule The World’.

The standard this year is already incredibly high, so picking out our top 5 dances was a very tough choice – shout outs to Jody Cundy’s sparkling old Hollywood quickstep, Krishnan Guru-Murthy’s infectious enthusiasm in his Cha-Cha-Cha and Angela Rippon’s incredible leg extensions! But in no particular order, here’s what we eventually decided on:

Nikita and Gorka – Waltz to ‘Run To You’ by Whitney Houston

It may not have got top marks with the judges, but I adored this Waltz from Nikita. It had a lovely soft, romantic feel about it, with some beautiful lines in her body and very decent footwork (including some heel leads!). There was a really intimate quality to the routine as well – especially in the dramatic drag – and I loved her little pause at the start of the routine with those almost balletic arms. However, what really stood out to me was the emotional connection between her and Gorka. For me that really elevated the whole routine and made them a pair to watch next week.

Layton and Nikita – Samba to ‘Touch’ by Little Mix

A Samba in week one is a very daunting prospect, so well done Layton for not only pulling it off but doing so in style. From the solo opening section the whole performance oozed sass and confidence, as well as perfectly balancing speed and precision with some absolutely jaw-dropping tricks (the splits being a particular standout!). I thought they had great synchronisation as a couple as well and the hip action was excellent. If I had one small criticism, I would have liked a little more bounce and drive into the floor, but overall it was absolutely fierce and I already can’t wait for next week!

Ellie and Vito – Jive to ‘Can’t Tame Her’ by Zara Larsson

Right from the off Ellie went into this routine full of intent and attack, from her precise, strong arm movements to her power across the dance floor and her sharp kicks and flicks. She absolutely nailed that springy Jive action and had really great hand movements, as well as some impressive tricks such as the back bend and drop kick and bags of energy throughout. I also loved her solo section which delivered playful swagger in spades! Although she had a slight wobble on her last trick, she showed that she is definitely a dark horse in this competition and could well be a contender for the glitterball trophy.

Bobby and Dianne – Foxtrot to ‘All About You’ by McFly

This was a complete sugar rush of a Foxtrot, with sweet storytelling and some lovely arms and footwork from Bobby, as well as a nice relaxed quality to the overall performance. It felt slightly rushed in places and there was quite a bit of gapping in hold which I put down to the height difference, but the whole thing was so utterly adorable and charming that I didn’t care – and actually found myself welling up towards the end! Despite Bobby previously professing to be more of a ‘hips and shoulders’ guy, I think he surprised a lot of people and I’ll be really intrigued to see just how far he can go with the Ballroom routines. (Also, Dianne absolutely won the fashion points for the evening in her gorgeous blue dress!)

Nigel and Katya – Paso Doble to ‘Smells Like Teen Spirit’ by Nirvana

We may have had to wait until the end of the night for their routine, but Nigel and Katya absolutely closed the show with a bang. Their circus-themed Paso had great precision and synchronisation throughout, with Nigel delivering punchy movements out of hold as well as tons of drama. He led Katya around the floor brilliantly and was commanding out of hold too, whether that was spinning around on one leg or the fantastic shapes in his arms, before finishing off with some excellent cape work. It was a powerful performance with tons of confidence and the judges rewarded him with top spot on the leaderboard.

The leaderboard for the evening was

Nigel and Katya – 32 (8, 8, 8, 8)
Layton and Nikita – 29 (7, 8, 7, 7)
Bobby and Dianne – 29 (6, 7, 8, 8)
Amanda and Giovanni – 29 (7, 7, 8, 7)
Angela R and Kai – 28 (7, 7, 7, 7)
Annabel and Johannes – 28 (7, 7, 7, 7)
Angela S and Carlos – 23 (6, 6, 5, 6)
Eddie and Karen – 22 (4, 6, 6, 6)
Krishnan and Lauren – 22 (5, 6, 6, 5)
Jody and Jowita – 21 (5, 5, 5, 6)
Adam and Luba – 19 (4, 5, 5, 5)
Zara and Graziano – 19 (3, 6, 5, 5)
Nikita and Gorka – 18 (3, 5, 5, 5)
Les and Nancy – 16 (2, 4, 5, 5)

As a reminder, no-one goes home this week, and the judges’ scores from last night and next Saturday will be combined before the first results show and dance-off next Sunday night – so make sure you tune in for that!

Strictly Come Dancing 2023 will return to BBC One and BBC iPlayer on Saturday 30th September at 6.20 PM, with the first Results Show of the series on Sunday 1st October at 7.15 PM.

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To celebrate we’ve listed out Top 10 Kane Brown songs and, if rumours are true, we hope to see each and every one of them live in London next March at the C2C festival.

Georgia native Kane Brown hit the charts via astute covers of his favourite Country artists, including Alan Jackson, Lee Brice and George Strait – his cover of ‘Check Yes Or No’ earned a gazillion views on social media. Okay, seven million.

In 2017 his teaming up with friend Lauran Alaina saw Brown nominated for a host of breakthrough artist awards, including for ACM and CMT, winning CMTs Video of The Year. Kane’s talent naturally shone and both 2016’s self-titled album and 2018’s Experiment (which is when I discovered him) hit the top of the charts and have been certified platinum by RIAA. His third album, Different Man, released in 2022 looks set to follow the same course.  

A huge tour, possibly international in 2024, and new music from his brand of country and rhythm, often with collaborations, will ensure the perpetually moving and evolving Brown reaches an even wider audience. His songs have a polished production sound and he’s a strong live vocalist – his authentic lyrics have seen to that. Brown’s unique talent sees him frequently step into and around country, R ‘n’ B and dance genres. What category he sings doesn’t matter when it sounds this good.

10 – One Night Only 

From the Experiment album, this ballad showcases Brown’s honeyed vocals, as he realises his love is going beyond just one night.  More rhythm than country in sound, yet the longing in his voice for building a home and family is native to his Georgia roots.   

9 – What Ifs

This huge song, a collaboration with friend and fellow Georgian, Lauren Alaina, likely changed the course of Kane’s life. The right people paid attention to their striking duet, and his self-titled debut album which the song featured on.

8 – American Bad Dream 

You can’t fail to fall into the heart of the tragic lyrics of this song, questioning how school and life used to be and how it is now, set to an addictive beat.

7 – Bury Me In Georgia 

Brown’s southern heart beats to a gorgeous mid-tempo banjo in the opening track of the A Different Man album, lyrics putting his best country foot forward to an on-repeat song. This album is his most country sounding album to date, as evidenced by most of the second half of this list.   

6 – Like I Love Country Music 

Most often seen in jeans and a plain t-shirt, Brown looks the most fun-loving Country in the video for I Love Country Music, featuring a rhinestone studded black leather jacket and a Stetson as well as a line-dancing audience. Jackson, Jones, Cash, Brooks and Dunn are all referenced in Brown’s signature rhythmic lyric.  

5 – Learning

The pace slows for Brown’s most honest song yet, letting us inside his childhood, revealing his early struggles with his racial identity.  Featured on his debut album, it’s gut-clenching when you hear the story unfold live.

4 – I Can Feel It 

Brown’s latest single kicks off with an uptempo banjo. Lyrically it sounds like a bar hook up – that feeling you get when your heart beats in time with something good going on. I also like to think of this as an insight into the right moment for Brown’s unique sound to take him to wider global audiences and festivals.   

3 – One Mississippi

This dance-worthy song, also featured on A Different Man, is just that great kind of feel-good song.  A bar, shots and a hell of a night on repeat.  Simple and very effective. 

2 – One Thing Right 

2019’s collaboration with American electronic music producer and DJ Marshmello was inspired. Definitely got this song right. It’s also a love song to his wife, Katelyn, who he married in 2018. 

1 – Lose it

In February 2020 I travelled up from Devon to London for a 90 minute Kane Brown show (which I would do happily all over again) and all I knew in my heart was that I would lose it if I didn’t hear him perform Lose It (of course he did and I drifted away on that overnight train with a huge smile on my face). Three years on it’s still my favourite KB track. Go on, go have a listen.

The post As Kane Brown releases ‘I Can Feel It’ we celebrate him by listing his Top 10 songs appeared first on Entertainment Focus.

Hailing from the Bay Area and now based in Nashville, Ledger draws inspiration from California’s legacy of relentless reinvention. He seamlessly melds genres, at times fusing British folk with rowdy surf rock, to create a musical experience that defies expectations. At the core of ‘Golden State’ is Ledger’s captivating baritone and poetic lyricism, resulting in a body of work that is both meticulously composed and endlessly surprising. We were thrilled to grab some time with him recently to talk all about it.

Thanks for your time today Logan, it’s lovely to touch base with you. Congratulations on your ‘Golden State’ album. What an intriguing and beguiling record it is.

Thank you, I appreciate your kind words.

You hail from the Bay Area of California. What prominence did music have in your early years and when did you first know you were going to do what you do for a profession?

I was always into music, even as a small child. I always liked to sing and was fascinated by music although I didn’t start to play guitar until I was about 11 years old. My dad played guitar and I think that was, initially, why I wanted to do it. We even had the same guitar teacher at one point although I never imagined that I would be a professional musician. That didn’t really occur to me until I was in my 20’s, maybe?

It wasn’t until I recorded my first album with T-Bone Burnett that I began to realise it was something I could do for a living! (laughing) Up until that point I was, like, ‘man, I just don’t know?’ (laughing) but now I am too deep in.

What would you have done if you hadn’t gone down the ‘music route’?

I went to a liberal arts college where I initially thought I was going to get a degree in History. I thought maybe I would go to law school. I liked school, I was comfortable being in school and around academia but when I got to college I kinda had a moment where I realised music was more important to me. I’d started playing in Bluegrass bands and that began to take over my life.

I followed the Bay Area scene in the 90s thanks to bands like Counting Crows but I never realised there was a Bluegrass scene too?

The Bay Area has it’s own little Bluegrass history because of David Grisman and Tony Rice, really. All of those classic Tony Rice records were made in the Bay Area. A lot of important music came out of the Bay Area from just that small group of people. California, in general, has had a pretty strong Bluegrass scene since the Folk revival of the 60’s. It is probably the third biggest area in the country for that type of music behind Colorado and the south east of the country.

In the south, most of the bands that are playing Bluegrass are doing a much more refined style, smoother style of music influenced by bands like The Lonesome River Band and Tony Rice. California is in a different kind of space, almost like it’s in a time capsule. i played in a Bluegrass band called Windy Hill and we wore white shirts and all that kind of imagery.

What’s it like for a Californian boy living in Nashville. What do you like about it and what do you miss about the west coast?

Nashville is like the Alamo for musicians! (laughing) It’s the last place left in North America to go if you play guitar. Other cities might have strong music scenes but they are not like Nashville, where you literally can swing a dead cat and knock over a bunch of guitar players. The connections here are good too, in terms of the amount of musicians around to help and advise you.

In the Bay Area right now the music scene is in a pretty much anaemic state. There are people doing it but a lot of people left to go live in L.A. or to move here so it’s a hard place to be as an artist right now.

‘Golden State’ is quite different to your debut album. How have you changed and evolved as a writer in the last 3-4 years?

My first album had a lot of songs on it that were up to about 15 years old, you know? I can’t even remember who I was when I wrote some of them whilst this new record is a snapshot of who I am now in this most recent period of my life.

What did Shooter Jennings bring to the project as your producer?

Shooter kinda reached out to me. I was kinda in a weird spot with my label deal and he was looking for something to do and he found me! He put the fire under my ass and motivated the record label too. Shooter is a collaborative dude who empowers you to make the record that you want to make and not what somebody else thinks you should be making!

He’s a hard worker, he has a great ear and he’s a great piano player too!

What was the easiest song to write on the album and what song was the hardest to finesse into where you wanted it to be?

The title track took a long time because I had the melody for a long time but didn’t have any lyrics beyond the first verse. ‘All the Wine in California’ was a long process too. ‘Midnight in LA’ was pretty quick in terms of going from the idea to finished version.

Are you driven by lyrics, melodies, song titles or a combination when it comes to ideas and inspirations?

It’s usually kind of a combination. Sometimes a phrase will come to me and I’ll build a song around it. Typically I’ll put a melodic idea or fragment together with a lyrical one and go from there. I very rarely have written a song from a straight up melody, that just doesn’t work for me as there has to be some sort of lyrical idea behind the song.

The songs on ‘Golden State’ aren’t really co-writes, which is unusual for Nashville, right? They are typically my songs that some people have helped me out with. These aren’t songs that were generated from nothing at 10.30am in a Nashville writing room, they really were like my babies that were polished or finessed into what they are now.

‘Midnight in L.A.’ has my favourite line on the album when you sing, ‘For every dream that’s born, another has to die.’ That’s so evocative of Los Angeles to me.

It’s interesting because I’ve had people say, like, you know, people go to LA and they chase this dream and try to be a star but it wasn’t really what I mean’t with that line but it does work on a number of different levels. For me, that song was very much written ‘for’ the album, it was very much composed on the spot in the studio for very deliberate reasons. It was kinda like a ‘meta’ song about the album, for the album.

Did you agonise over the sequencing of the album at all? Is this an album that needs to be listened to in order?

I don’t think it ‘needs’ to be but it helps. Shooter and I talked about that some and there were only a couple of sequences that worked for us . I think we knew that ‘Golden State’ would be the opener and that set us on the pathway for the whole thing.

Let’s talk about ‘Till it Feels Right,’ which is an incredibly bleak song. Does the guy hang on to the girl at the end or do you want the next step to remain ambiguous?

(chuckling) Yeah, it certainly is! Well, in real life he did. (pause) For the sake of the song narrative it needed to be ambiguous. The album can be seen as the playing out and the disintegration of a relationship on some level from there to ‘Where Will I Go?’. It’s a much older song, probably about 2-3 relationships ago now, thankfully.

‘Obviously’ is a really evocative song that puts me in mind of songs from artists like Elvis and Billy Fury that my dad used to listen to. Tell me about the inspiration behind that song.

That one has a kind of New Orleans, ‘swamp-pop’ thing going on. The song is just a 32 bar, simple melody and it’s a Country song but it also could be a rock ‘n’ roll song too. I wanted to make a stylistically eclectic record and that adds to the vibe. I’d been listening to a lot of Fats Domino and Bobby Charles at the time and I wanted to channel some of that sound onto the album.

What’s the plan for the rest of the year in terms of getting this music out to as many people as possible?

I got a couple of tours on the books. One which I can’t talk about yet but one which I announced with my friend, Vincent Neil Emerson, who is a great songwriter. Pretty much every show I’ve played this year has been on the west coast, which wasn’t intentional but I do like being out there.

What’s your favourite venue to play in Nashville?

You know, I really love The Basement. To me, that’s a great room. It forces people to have to shut up because it makes people feel uncomfortable if they talk! (laughing) That’s a magical component of a true listening room.

Check out Logan Ledger’s ‘Golden State’ album right here.

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