Tag Archives: album release

Being Serafina: the stunning new album from Little Lore inspired by Tennessee Williams

Album reviews, americana, Music news, , , , , , , ,

Released: 12 June 2026

“In the 21st century it’s refreshing to know that there are still artists creating unique albums. The London-based Little Lore is a fine example of that and her latest release Being Serafina is a work that stretches the imagination and reveals a conceptual depth outside the normal approach.” – RnR magazine (5 stars)

Being Serafina is the new musical project from acclaimed, London-based singer-songwriter, Little Lore aka Tricia Duffy. Released in June this year the albumis named after the central character in Williams’ celebrated play from the 1950s, The Rose Tattoo.

Little Lore: “Being Serafina began as an academic experiment. I wanted to explore whether method acting techniques could be used as a songwriting device. My initial idea was that I could use the Method to write a collection of songs from multiple different character perspectives, perhaps drawn from fiction or characters of my own invention. But projects have a habit of unfolding in unexpected ways. I signed up for method acting classes and to start the process purely, from an acting point of view, I selected a monologue from a play I loved. The Rose Tattoo, by Tennessee Williams. I have been obsessed by Williams’ writing since I was a teenager. I loved and admired his ability to capture such rich female characters. As a homosexual man born in 1911, he understood how it felt to be oppressed.”

“The project began and my first song arrived, written from the perspective of the main protagonist in The Rose Tattoo – Serafina. It’s a song called ‘Did You Exist?’ that sees Serafina questioning everything when she learns that her deceased husband, the love of her life, was having a long-term affair before he died. She is devastated and confused and as I ‘became’ her, I felt it all. And so began an intimate love affair of my own, with this beautiful, vulnerable, funny and flawed character, Serafina. I had a crazy notion that maybe I could go deeper into character and write an entire album from her perspective. Being Serafina is the result. The album draws on a wide range of genre influences from the folk Americana people know me for along with prog rock, punk and blues peppered into the creative process.”

A burgeoning presence on the UK Americana and singer-songwriter scene, Little Lore has received many plaudits, both for her astute, observational songwriting and for her warm, heartfelt vocals. Add into the mix the lush instrumentation and sumptuous production from her principal musical collaborator, Oli Deakin, and the result is nothing short of magical.

Renowned New York-based producer and multi-instrumentalist, Oli Deakin,(who records under the name of Lowpines) produced album and, as with previous Little Lore releases,  provides much of the instrumentation.

Being Serafina will be released in vinyl, CD and digital formats on 12 June 2026 via: https://littlelore.bandcamp.com or can be pre-saved via: https://distrokid.com/hyperfollow/littlelore/being-serafina?ref=release

Being Serafina – track by track:

1. Fair Weather:“Serafina is a central part of a close Sicilian community; she is the local seamstress. Williams describes the opening scene of the play with children playing, excitedly talking about the flags flying at the coast guard that indicate the weather will be fine. He describes the mothers calling the children home tenderly and musically. Serafina has set the table for a romantic dinner; she plans to tell her husband that she is pregnant with their second child. Her 12-year-old daughter is catching firebugs, and the scene is quite perfect. The song includes backing vocals from Bella Collins and Ella Tobin in the harmonies to enhance this sense of community, and introduces the use of a clarinet, a musical device used to characterise Rosario – Serafina’s husband. Attentive listeners may notice that the clarinet always pans to the right. A deliberate decision drawn from traditional pantomime, where the ‘baddies’ always enter from the right (or stage left). No spoilers … you will learn why later! A simple song that seems positive but with minor arrangement that offers a sense of foreboding and hints at what will unfold.”

2. Evil Eye: “Serafina is superstitious and prone to judgement. She believes that her neighbour is a ‘Strega’ or witch, with an evil eye that can put a curse on her and her daughter. The Strega is often watching throughout the play, offering useful commentary on what is unfolding. In the scene that inspired this song her menace of a goat has got into Serafina’s yard to eat her tomatoes. Serafina instructs her daughter to avoid looking at the Strega and to wash her face in salt water and throw it quickly away to prevent the Mallocchio: the curse of the evil eye. Her daughter, Rosa points out that the neighbour, far from being a witch, has a cataract and crooked hands caused by rheumatism. Musically Oli and I tried to garner a jaunty yet eerie feel, taking inspiration from the likes of Tom Waits. This superstition could be considered silly, but this moment is an indication of things to come. All is not well in Serafina’s world.”

3. Don’t Speak: “It is dawn and we find Serafina at her sewing machine, waiting. The table is still laid, but the food untouched. Her husband hasn’t come home. Outside she hears the low tones of the women in her community and the priest discussing how to tell her the news. Rosario is dead. Written as a real time unfolding of events, shock and denial are the primary emotions of this song. The devastating moment she learns that her husband has died but tries to hold back the knowing. Written in a deliberately high key – to offer the sensation of that high pitched quality we sometimes get in our voices when we are trying to deny something. The sparse music is uncomfortably dissonant with an off-key drone in the mix to give that sensation of the blood rushing in our ears as she experiences the shock. This was a harrowing song to write. Using the method acting techniques which includes the use emotional substitutions, I allowed myself to access the most significant and devastating losses of my life. I cried throughout the entire writing process. It was an emotional song to record.”

4. Trying not to Breathe: “At this point in the original play by Tennessee Williams Serafina is off stage. A necessary device for the momentum of the story because it is here that the audience learns that Rosario, the love of her life, was having a long-term affair for more than a year before he died. The doctor tells her friends that she has lost her baby and is trying not to breathe. He has given her morphine and leaves the group with a syringe to administer more drugs if she tries to get out of bed. As this album is written purely from Serafina’s perspective, I decided that I needed to live her experience of devastated intoxication. The world knows that Rosario was unfaithful, but Serafina remains in the dark. Leaning on prog rock devices to offer the sensation of this drug induced state, we hear her loss and confusion unfolding. There is a tension and a back and forth in this song as she goes in and out of her sedated state.”

5. Lock up your Daughters: “It’s been three years since Rosario died, and Serafina is still grieving. She fears for her now 15-year-old daughter Rosa’s innocence and has locked her clothes away to prevent her leaving the house. Rosa has fallen in love with a sailor. This song is relatable for any parent! That moment when they are growing up and stepping out on their own story. The musical quality of this song leans to pop, on one level it’s a straightforward cautionary tale to other parents, on another Serafina sees her wild husband’s eyes in her daughter and is forced to confront the fact that soon she will be left alone. Cut off from her community with no husband or child at home. She is becoming ever more isolated.”

6. He Wore Rose Oil in his Hair: “Serafina lives almost as if Rosario is still alive, talking to his ashes and fantasising about their love. She idolises his memory and gloats about their harmonious relationship. She talks indiscreetly about their sex life – how she gave him the ‘glory’ every night of their marriage. She knew that he was working for the mob and turned a blind eye. This is a pure love song; she loved him with every fibre of her being and enjoys remembering with pride about how he smelled and made her feel. I used a deep process of sense memory work to write this song, another method acting technique that had me returning to times in my life when smells have overwhelmed me or triggered significant memories. It is one of my favourites on the record. Those who know my work, will know that I am usually more comfortable with writing about death or loss than love! So, it was quite a tough one for me to create. The interplay with the clarinet that represents Rosario is like a love duet and the melody saws with love and reminiscing.”

7. Did you Exist? “The bubble has burst, for three years Serafina has lived with her grief, comforted only by the memory of her idealised marriage and now two careless girls have let it slip that Rosario was having an affair when he died. Not a fling, but a relationship that was going on for over a year with Estelle, the blackjack dealer at the club downtown. Serafina questions everything. She wants it to be a lie. She asks the urn of Rosario’s ashes, ‘Did you exist? Did we exist?’ And the clarinet responds. Sheepishly. The play is set in the early 1950s, and this song has an AABA form, typical of the music which would have been played on radio at the time. I enjoyed these musical nods to the era.”

8. Dummies: “Serafina becomes ever more isolated, taking comfort in the company of her dressmaker’s dummies rather than the women in her once close-knit community. Her dummies can’t tell her lies or call her names. For me, this is one of the saddest songs on the record. The chorus starts with an imaginary response from the dummies (there are several in the stage directions). In the middle chorus Serafina responds for them and in the last chorus that response doesn’t come, as Serafina faces the fact that she has lost her husband, her baby, her friends, the memory of her husband was false, her daughter finds her disgusting and her faith in the Virgin Mary has let her down. All she has left are these morbid mute dummies. The only co-written song on the record, created with long-time collaborator and friend Thiago Trosso (of Abraskadabra fame). Our close friendship was tested as Thiago bravely gave me permission to write in character as Serafina! The 6/8 time supports the choreographed stage directions regarding the dummies that is indicated by Tennessee Williams throughout the play.”

9. Atone: “Serafina moves through her second bout of shock and denial to anger! Punk beats underpin this driving forceful song of rage! Another direct tribute to Williams’ dramaturgy, the saturated toms are indicative of ice being chipped off stage. The song climaxes with a bell as Serafina throws her dead husband’s ashes across the room and the script notes tell us that a little boy who has been counting down for hide and seek shouts, ‘Coming ready or not!’ Serafina is coming for Estelle with a kitchen knife in her purse. A stranger, Alvaro, has entered her life and tries to talk her down with cool ice for her forehead and a drink. She is furious. She has never been angrier. She wants answers and atonement! Watch out!”

10. Lady Give Me a Sign: “More questions for Serafina, she is forced to accept that the rumours about Rosario are true, and she wants someone to blame. The stranger, Alvaro, has made gentle advances offering her comfort and so this song does several things. She is begging for mercy, while spitefully asking the Lady Madonna if she has ever loved her, but there is a second level in this song, she wants permission to sleep with Alvaro. He has a body that reminds her of her dead husband, and she has been a martyr to his memory for three years. She simultaneously rejects the Virgin Mary while also asking what to do. Musically, at the time I was writing this song I was down a bit of a research warren exploring archives to see if I could find the original score for the first Broadway production of the play. I didn’t find it, but I did learn that the score was composed by David Diamond, who I read was interested in chromaticism at the time. This led me to experiment with the chromatic shift you hear between the verse and the chorus (using the D sharp diminished chord for the musicians out there). The harmony was the first part of the song to be written; the words and melody followed.”

11. Love and Affection: “After her wrangling with the Virgin Mary, Serafina sleeps with Alvaro, who is offering her a little love and affection in a world that is lonely and cold. He’s no catch, he is the Grandson of the village idiot, has a bunch of elderly dependants and, as Serafina remarks, his ears stick out like the wings of a kewpie (or cupid). She also notes that despite his clownlike face, his body is reminiscent of her dead husband who was a god-like man. This song is another nod to the music of the time in the ‘50s a future-facing song, as Serafina starts to feel hope again. So, of course, I had to lean into some good ol’ rock ‘n’ roll.”

12. Strange Things: “Like all good stories, things come full circle and her ‘hero’s journey’ ends as Serafina returns to the ordinary world in much the same state as we found her at the start of this record. She has found hope and love again, she believes she has conceived another baby, and she can see a future for her with Alvaro. She returns to the community once more. The songs on this record have a sort of pairing quality, ‘Fair Weather’ and ‘Strange Things’ are bed-fellows. It is OK to believe in strange things and all is well. The clarinet that represents Rosario is there in the distance, as if releasing her from her grief.”

Release information:

All songs performed by Little Lore (AKA Tricia Duffy)

All songs written by Tricia Duffy except ‘Dummies’ written by Tricia Duffy and Thiago Trosso

Produced, engineered and mixed by Oli Deakin

Arranged by Oli Deakin

Drums: Morgan Karabel

Harp: Rebecca El-Saleh

Pedal Steel: Hamilton Belk

All other instruments: Oli Deakin

Backing vocals on ‘Fair Weather’: Bella Collins and Ella Tobin

Mastered by Katie Tavini

Photography and album cover art by Richard Cranefield

The Being Serafina project is inspired by the character of Serafina from The Rose Tattoo by Tennessee Williams. Presented by special arrangement with The University of the South, Tennessee, USA.

About Little Lore:

Little Lore is a London based, Indie-Americana singer-storyteller whose songs are both charmingly accessible and beguilingly challenging. You’ll want to listen twice. When you combine British wit and wordplay with cherished Americana roots, musical magic starts to happen. Based in Chiswick, West London, and originally hailing from Portsmouth, Tricia Duffy started her singing career as a teenager, which included a stint on cruise ships in the United States. 

Tricia’s solo project Little Lore was created in 2020 during the pandemic. Her debut solo EP, Little Lore, was released in 2021 to glowing reviews. Two further EPs Seven Stories Part One and Seven Stories Part Two were released in late 2023 and early 2024, followed by the EP River Stories in April 2025. Little Lore has become a force to be reckoned with on the UK Americana scene, picking up a slew of enthusiastic reviews and extensive radio airplay – including BBC Radio Scotland, BBC Radio Ulster, Nashville Worldwide Country Radio and the International Americana Music Show. In her songs, Little Lore brings together an affection for the heart and heritage of Americana music, with an intelligence and maturity of storytelling that can sweep you away into new and unexpected emotional worlds.

An enthusiastic advocate for songwriters, she is the UK Chapter Coordinator for NSAI (Nashville Songwriters Association International), and a member of Ivors Academy  and the Americana Music Association UK. She is especially passionate about creating opportunities for female, transgender and non-binary songwriters.

Website: https://littlelore.uk

X: https://twitter.com/littleloremusic

Facebook: https://www.facebook.com/littleloremusic

Instagram: https://www.instagram.com/littleloremusic

Related posts:

River Stories – the new six-track EP from acclaimed Americana singer-songwriter Little Lore

Seven Stories (parts one and two): the new project from acclaimed Americana singer-songwriter, Little Lore

The gripping tale of Little Lore: interview with Americana singer-storyteller, Tricia Duffy

Little Lore: the magical new project from UK Americana singer-storyteller Tricia Duffy

Fields of Redemption – new album from guitarist, Joe Hodgson – released 20th June

Music news, Rock music, Uncategorized, , , , ,

“The album is about the quest to right wrongs, the search for inner peace, and the reconnection with the land of my birth.” – Joe Hodgson

While firmly grounded in the rock and blues influences of his youth, Fields of Redemption sees Irish guitarist Joe Hodgson encompass a myriad of musical styles, which he blends and moulds to stunning effect. The result is an almost entirely instrumental album that is insanely diverse and refuses to fit neatly into any musical genre.

Hodgson explains: “You’ll find all my influences in there: rock, blues, jazz, classical, country, and even Irish traditional music. I also recorded two acoustic tracks, which was a first for me.”

Feelings of introspection and soul-searching pervade the record, but it also radiates brighter, less angst-ridden melodic explorations than its predecessor, Apparitions. The inspiration for the album came from an extended journey around his native Ireland with his new wife and his trusty Gibson Les Paul, soaking up the land of his birth.

Hodgson adds: “The album is fundamentally about reconnecting with my roots, reconciling with and embracing the past, while steadfastly looking to the future. It’s also about a journey to find inner peace, which for me is punctuated by laughter and a whole lotta fun. Overall, I think it’s a very uplifting record.”

The album is co-produced by Hodgson and Chris James Ryan (Keith Urban, Go West, The Church), and it features the Austrian rhythm section of Philipp Groyssboeck on drums and Vinzenz Benjamin on bass, both currently members of Go West and Cutting Crew. The nucleus of the band is completed by Otger Garcia on Hammond organ, Kelly O’Donohue on horns, João Paulo Drumond on percussion, and All-Ireland Champion bodhrán player, Paul McClure. Recording sessions took place in Ireland, England, Germany, Canada, the USA, and the Czech Republic.

For Joe, the most memorable recording session took place in Prague with the Czech Philharmonic, who appear on one of the album’s flagship tracks, “You I Think Of”. He describes this as “a spine-tingling moment”. Another highlight comes with the guest appearance of Irish singer Glen Harkin on “Since You Had a Hold on Me”. The album was mastered by Grammy Award-winning engineer Will Bowden (Gotye).

Fields Of Redemption is a big-sounding record, but not an over-produced one. It covers a wide range of emotions, moods, and styles, and it takes the listener on an epic journey. It is ambitious and brave, and the frequent twists and turns will keep listeners constantly on their toes. Despite the blending and blurring of musical genres, Fields of Redemption has a truly cohesive feel to it, and it is an album that is meant to be listened to from start to finish.

Read my feature-length interview with Joe Hodgson here

About Joe Hodgson:

Guitarist Joe Hodgson hails from the village of Ballymagorry in Co. Tyrone, Northern Ireland. His music, shaped by his upbringing during The Troubles, mirrors the fierce rain and winds of the Emerald Isle. It is both sweeping and intense, boldly blending rock, blues, jazz, and Irish traditions into finely crafted instrumentals, which reveal a multifaceted, emotive, and diverse performer.

After many years of playing and recording with London-based bands and touring throughout Europe, Joe returned to his birthplace in 2018. In 2020, he released his debut solo album Apparitions to wide critical acclaim. Guitar World called his playing “elite”. Prominent Canadian music journalist Steve Newton said he is “the best guitarist you’ve never heard of”. ANR Factory, meanwhile, described the album as “a modern-day masterpiece”.

On June 20th, 2025, Hodgson is set to release his second solo album, Fields of Redemption, an almost entirely instrumental collection of tunes which, in typical style, straddles, blends and bends musical genres. The album also features a guest appearance by Irish singer Glen Harkin. Three singles from the album have been released to date, garnering glowing reviews.

Website: https://joehodgsonmusic.com

Facebook: https://www.facebook.com/joehodgsonmusic

X: https://x.com/joehodgsonmusic

Instagram: https://www.instagram.com/joehodgsonmusic

Related posts:

Interview with Irish guitarist Joe Hodgson – new album out 20th June

This week’s featured artist: guitarist Joe Hodgson – new single out 28th March

Rock / Blues: Double A-side single release – Joe Hodgson ‘Since You Had a Hold on Me’ / ‘Stick or Twist’

Irish guitarist Joe Hodgson ‘You I Think Of’ – new single and video out 6th June

Interview with Irish guitarist Joe Hodgson – new album out 20th June

Interviews, Rock music, , , , , ,

Guitarist, Joe Hodgson, hails from the village of Ballymagorry in Co. Tyrone, Northern Ireland. His music, shaped by his upbringing during The Troubles, mirrors the fierce rain and winds of the Emerald Isle. I catch up with Joe to talk about his musical heroes, his solo career and the release of his new solo album, Fields of Redemption, which comes out on June 20th.

For my first question, let’s go right back to the beginning. When did you first pick up a guitar?

I picked up the first guitar after my cousins in Dublin played me some Rory Gallagher, you know? I think it was the Stage Struck album, which was him at his most rocky and stuff. And then I just was totally sold on the guitar. And then I actually got tickets to see Rory Gallagher and I was just totally blown away. And from that moment on, it’s all I ever wanted to do, you know?

Was that your first concert then, Rory Gallagher?

No, my first gig I ever went to was Thin Lizzy, I think on the Renegade tour.

That tour was my first gig as well, how weird!

Yeah, I saw them in Dublin and yeah, they were great, you know. Snowy White was with them at the time. It was brilliant. But it was definitely Rory Gallagher who was the was my main reason for playing guitar. And then after it became Gary Moore – when I first heard him. Those two were my biggest influences. Two Irish guys just coincidentally.

Two iconic and very expressive guitar players, so obviously some of that has embedded itself in you from an early age.

Oh God, yeah. I was out for a few beers last night with my wife, and the guy put on Rory Gallagher on the video screen. And he was absolutely incredible. Amazing showmanship. He never messed up. He never got out of tune, never out of time. Raw. And that was amazing, you know. Brilliant.

If you want to talk about sort of the music that’s influenced me when I was growing up… as I say, Rory, and then Gary was definitely my biggest single ever. I’d say he was one of the greatest players of all time. But I was also into – and I still listen to – all the older, the English guys. Like, obviously, Eric Clapton’s a huge influence on me. Jimmy Page, Jeff Beck, Peter Green. Those four are still, to this day… you don’t get any better than them! And I still go back and listen to Clapton and Beck quite regularly, you know?

But in the ‘80s, ‘90s, I was heavily influenced by all the American players, you know. Van Halen, Randy Rhoads and Jake E. Lee and all those great players. But I was also into other music. Stuff like ELO and some quite melodic music, which probably has helped define me. Melodically, it’s given me that sense, I like to think, that my influence isn’t just from the hard rock. It’s from that kind of more pop rock as well. Fleetwood Mac and stuff like that. I love listening to that.

I think that’s something that really shines through in your own music.

So, from those early days, you went on to play in a number of bands. That was over in England. Did you want to tell us about that?

Well, it was a catalogue of almost-made-it type bands, you know. The band I suppose that came closest to cracking it was a band called Rime. At the time we released an album back in the mid-2000s. And we were about to be signed up by a major promoter in America. And at the last minute, just as the CDs had been printed, the singer walked out of the band. A French guy. It was unbelievable luck, you know? And we replaced him, but it was never the same when you replace a singer. The guy in this booking agency in America, he loved the singer, you know? So, when you replace the singer, it’s always difficult.

But I was in lots of different bands over there. And the last band I was in before I left was a band called Good Guy Dies. I was with a female singer from Latvia, and we did some BBC stuff. BBC Radio Kent and local stuff in and around London. And we toured all over the country but, again, that was a weird one because my background is Thin Lizzy, Rory Gallagher, Gary Moore, Led Zeppelin, all that. And her background was Tori Amos, Bjork. So, I thought it was a good idea to try and mix these, but it was like trying to mix oil and water, you know? So, it didn’t work in the end, I don’t think, musically. But I enjoyed playing that stuff and experimenting, you know?

And then you relocated back to Northern Ireland and released your debut solo album a few years later. Was that a conscious decision to move back to Ireland and launch a solo career, or did it just happen in the way sometimes things happen in life?

Yeah, the reason I came back here was that band Good Guy Dies broke up and I just wanted to get away from London for a while. Then my mum was diagnosed with motor neurone disease. So, I ended up back here and I nursed her in the last year of her life. She died here at home. I had no intention whatsoever of coming back here permanently but as the days went on, I thought I kind of like it here, you know. People talk to you here. It’s not like London, you know, and you go for a pint and people are going, “Hey Joe, how are you man? How you doing?” So, I felt just right at home again after a while. You couldn’t pay me now to go back to London, you know! I’m quite happy here.

Brilliant. I’m sorry to hear about your mum though. Although something very creative and very positive came out of a family tragedy.

Absolutely. It was always my dream to come back. This room where I’m in now, you can see all my guitars and stuff there. This is the room I learned to play guitar in. And I always had this sort of dream to come back here and record a solo album in this room which is what I did. I recorded all the guitars in here.

So yeah, it was always in the back of my mind to do something like this, you know, the solo stuff. I just found I really enjoyed the creative freedom. And I self-financed it all myself so there’s nobody breathing down my neck saying, “You shouldn’t be doing that.” I can experiment as much as I like. So that’s probably why you see quite a lot of different styles on the album. Because I’m the boss here of this little organisation, you know, and it’s really liberating. If I want to play a blues track, I’ll play a blues track, if I want to play a jazzy track, if I want to play some harder rock, I’ll do it, you know?

Yeah, those different styles certainly come out on the new album, and I know that’s been commented on in reviews. So, what do you want to tell us about the album Fields of Redemption that comes out on June the 20th?

Well, as I say, it’s very varied. It’s not like, say – and I’m not knocking them because I actually really like them –  but you buy an Oasis album, you know what every track’s going to be. You know what it’s going to sound like before you even play it all. It’s great. But for me, that sort of approach is very limiting. So, I just wanted to be able to play whatever style I wanted at any given time, you know.

But also, the difference between this album and the last album was I got a co-producer on this album. A guy called Chris James Ryan. He’s Australian. He lives in Canada and he mixed Apparitions (Joe’s first solo album). That’s how I met him. But this time I wanted to widen the sound a bit and use orchestral elements and I wanted to bring in brass. And he was a great help with that. Communicating with these musicians along with me, you know? And we really went to town a bit more on the production this time – went really deep into getting the sounds right.

And, as I say, the guitars were recorded here in Northern Ireland, but the rest of it, like the drums and bass, were recorded in England. There were these two Austrian guys, Philipp Groyssboeck and Vinzenz Benjamin. And then I had musicians dotted all over the world. Like the horns were recorded in Germany by this Australian guy. I had a Brazilian percussionist. He was in Salvador. He recorded percussion over there.

Then one of the highlights for me was working with a guy called Paul McClure, who’s a bodhran player, the Irish drum. He was an ex-All-Ireland champion and he was phenomenal to work with. I did a couple of acoustic tracks. He’s on those, which is a first for me. I’ve never recorded an acoustic track from start to finish and I did two on this album so that was different.

It’s something I’m happy that I did, you know. Happy that I went so wide with the spectrum. But I would like to think that my guitar is the unifying factor, which brings it from start to finish and kind of makes sense of it, you know?

Oh yeah, absolutely. Your guitar shines throughout and your personality through that, I think. That’s definitely the unifying factor, isn’t it?

Yeah, and I also got to work with a singer who I’ve wanted to work with for a long time. A guy called Glen Harkin, who you heard on ‘Since You Had a Hold On Me’. Glen’s amazing. He’s probably the best male vocalist I’ve ever worked with, you know. You just turn on the mic, he was standing there behind me and I just let him open his mouth and sing. I’d say that track was done, his singing part in an hour, hour and a half.

His voice is perfect for that track. But as we say, it’s a mainly instrumental album. And I think with a lot of instrumental albums, they’re good at capturing abstract moods, but yours is actually telling stories, which I think is really, really fascinating. The music actually tells a story once you know the title. That’s quite a feat.

I’m really pleased you picked up on that because even though there’s maybe no words on the track, the tracks do mean things to me, you know? And there’s one track, that’s the very last track on the album. It’s the acoustic track, ‘The Ballad of Joe Clarke’. That’s quite a special track to me because it’s dedicated to a friend of mine who sadly died last year. And he was the person that brought me down to see Thin Lizzy in Dublin, you know? And he was a huge inspiration to me, because he played in local bands and he was a bit older than me, so I looked up to him. And I wanted to do this for him and his wife, Helena. That track means something to me, you know?

So finally, what next after this current album is released?

Next? Well, I would love to be able to tour this, you know, but it’s very, very difficult to do that with instrumental music. But if someone like a Robin Ford or a Joe Bonamassa said they want a support act. Yeah, count me in!

But looking further down the line with myself and Chris, we’ve already talked about the next album. And we actually want to go and do it in Nashville because he’s got quite a few contacts over there. Because you get these players in Nashville and they’re just unbelievable, you know. Probably do the ten songs, we’ll get the backing tracks done in a couple of days and then come back and work on the guitar. But that’s going to be a fair bit down the line, as I say, because all this is self-financed. So, it takes a while to get it together but that’s the next plan recording-wise.

Fields of Redemption is released on June 20th 2025 https://joehodgsonmusic.com/

Related posts:

This week’s featured artist: guitarist Joe Hodgson – new single out 28th March

Rock / Blues: Double A-side single release – Joe Hodgson ‘Since You Had a Hold on Me’ / ‘Stick or Twist’

Irish guitarist Joe Hodgson ‘You I Think Of’ – new single and video out 6th June

Celebrated folk rock band Green Diesel back with long-awaited fifth album: Onward The Sun!

Folk music, Music news, Rock music, , , , ,

Released: 25 April 2025

Following their critically-acclaimed 2021 album, After Comes The Dark, which saw Green Diesel pick up a slew of enthusiastic reviews for what became their best-selling release to date, the Kent-based folk rock band are finally back with a brand-new album.

Onward The Sun! is the band’s long-awaited fifth album and is scheduled for release on 25 April. The nine-track album features six newly-composed songs inspired by themes such humanity’s connections with the natural world, ancient folklore, the persecution of witches and Shakespeare’s Henry IV, as well as fresh interpretations of much-loved Morris tunes, a modern take on a traditional murder ballad and a cover of a Paul Giovanni composition from the cinematic soundtrack to The Wickerman.

Showcasing Green Diesel’s masterful distillation of folk, rock and psychedelic influences, together with their usual exemplary musicianship and trademark vocals, the album was recorded at Squarehead Studios in Newington, Kent with producer Rob Wilks (Smoke Fairies, Lianne La Havas, Story Books) once again at the helm.

Guitarist, vocalist and multi-instrumentalist, Greg Ireland, comments:

“This is an album born out of playing together a lot!  Most of the pieces were developed through a lot of sessions together and really stretching out the jams into some of those elongated pieces we play live.  We then recorded the main tracks all live together in one room, no click tracks.  It’s really a celebration of what this band is and the sound we make together.”

Green Diesel are:

Ellen Care – violin/vocals
Matt Dear – lead guitar/vocals
Ben Holliday – bass
Greg Ireland – rhythm guitar/mandolin/dulcimer/vocals
Ben Love – drums/percussion

About Green Diesel:

Hailing from Faversham in Kent, Green Diesel take their inspiration from the depths of English folk lore and legend, and the classic folk-rock sound of their predecessors: Fairport Convention and The Albion Band. Blending violin, mandolin and dulcimer with electric guitars and drums, Green Diesel’s sound is born from a love of traditional English music and a desire to bring it to a modern audience.

Green Diesel’s first three albums,  Now Is the Time (2012), Wayfarers All (2014) and The Hangman’s Fee(2016) all won praise for the quality of song-writing and musicianship. A major turning-point, however, came with the band’s last album After Comes The Dark (2021). The album entered the UK Folk Top 40 on release and saw Green Diesel nominated for FATEA Music’s ‘Group/Duo of the Year’ award and also saw the band pushing their sound further, bringing in elements of psychedelia and progressive rock whilst remaining rooted in their folk upbringing.

Green Diesel – What They Say:

“A cornucopia of sounds that blends classic folk-rock, prog and elements of stately Early Music into their own distinctive style’” – R2 Magazine

“4/5 stars – ‘(Green Diesel bring) a psychedelic, progressive edge to their interpretations of both traditional and original material” – Shindig!

“Evocative of early Steeleye Span and veined with prog-rock and influences drawn from early Genesis and the 70s Canterbury scene’” – Folk Radio

“Green Diesel has skyrocketed into my top few bands” – FATEA

Onward The Sun! – Track-By-Track:

1. Venus Tree (Ireland): ‘Yarrow (the ‘pretty flower of Venus’ tree) is an interesting plant…!  The song is perhaps a slightly twisted take on a love song, based around some of the ways in which yarrow can be used for what you might call ‘love divination’ whereby sprigs of yarrow would be placed under the pillow of a young woman who would then dream of her true love to be.  One popular rhyme for instance reads:

‘Yarrow sweet yarrow, the first that I have found
And in the name of sweet Jesus, I pluck it from the ground
As Joseph loves sweet Mary and took her for his dear
So in a dream this very night my true love will appear!’

Like all good folk stories there’s a twist in the tale of course.  The yarrow plucked must be plucked from the grave of a young man dead before his time…’ Greg

2. Hotspur (Holliday): ‘Hotspur is the nickname given to Henry Percy, who was the 2nd Earl of Northumberland and led a rebellion against Henry IV. This rebellion culminated at the Battle of Shrewsbury, which is depicted in Shakespeare’s Henry IV. The night before the Battle, Hotspur is told that his various allies who agreed to fight alongside him aren’t turning up, but (in the play) he still delivers a fiery speech and declares they will go ahead and attack the ‘usurper’ Henry IV no matter what. The song tries to capture his mental state at night before the battle – he can’t sleep, he’s scared, but he knows he has to ‘front up’ and be the brave, fearless, fiery Hotspur that everyone knows.’  Ben

3. Huntress Moon (Dear): ‘This song is a spell of transformation. I’d been reading about Paracelsus, the history of alchemy, the occult, and the persecution of witches during the Reformation. I wanted to write something that drew on this symbolism, using the language of magick to craft a lament, an impossible dream, a transcendent fiction.’  Matt

4. Princess Royal/Dribbles of Brandy (trad arr Green Diesel): ‘Two English folk tunes learnt from our trusty companion Pete Cooper’s book of English Fiddle Tunes.  I’ve played Princess Royal with my dad for years – there’s actually two different versions of this tune: one in a minor key and one in a major key.   The minor one seemed to fit our style better!  The second tune is called Dribbles of Brandy and was one we used to have on setlists during our wild misspent youth before it took a quiet retirement.  It seemed time to resurrect!  This one always puts me in mind of late night gigs at Broadstairs Folk Week fuelled by too many ciders…’  Ellen

5. Hymn For The Turning Year (Ireland): ‘Written in the depths of the Covid winter of 2020 when, amidst all the chaos in the human world, the Earth was just doing the same thing it does every year.  The verses are individual snapshots of things I witnessed on my mandated solo walks and a reflection on ultimately how powerless we are against the natural world, a feeling which seemed to be mirrored on a human level by the situation in the world at the time.’  Greg

6. Maypole (Paul Giovanni): ‘A cover of one of  Paul Giovanni’s compositions from the soundtrack to The Wickerman.  The soundtrack has long been a favourite of mine, it was and remains a big influence on my songwriting. This song always struck a chord with me, and I’d always wanted to develop it into a longer song. It seemed to encapsulate my morbid attraction to the Summerisle cult, a return to a cyclical view of time, death and life entwined.’  Matt

7. Onward The Sun! (Ireland): ‘In some ways the sister song to Hymn…  a frequent walking route of mine was up Golden Hill in Harbledown, just outside Canterbury.  There’s a particular bench there where you can just sit and look across the hills.  The sun is such a part of folklore and folk imagery and I suppose that was in my mind on some of these walks – musing on our temporary status in the world.  We’ll all shuffle off sooner or later but the sun will go on and on.  Hopefully…’  Greg

8. Ring The Hill (Ireland): ‘Based on the Cornish legend of the white hare.  It is thought that the creature is the spirit of a broken-hearted lady determined to haunt her faithless lover to the grave.  This also got me thinking about the historical connections between hares and witchcraft – the chorus lyrics are an adaptation of some of the words used by Isobel Gowdie at her trial (she was tried as a witch in Scotland in 1662 and her testimony survives).   The song follows the progression of our heroine from broken-hearted to vengeful and it seemed appropriately prog to divide it into two parts.  The tune for the second part is a variant of the traditional tune for Dives and Lazarus.’  Greg

9. Wild Wild Berry (trad arr. Green Diesel): ‘A traditional song that appears to share similarities with the Lord Randall ballad.  Collected from the traditional singer Ray Driscoll who apparently learned it in Shropshire after being evacuated there during the war.  My own introduction to the song came from the version by the Furrow Collective.  I particularly liked the way that this version distils the essence of the long Lord Randall ballad into three powerful verses.  And, of course, I love the poetic ending of the murderer being hanged with the deadly nightshade entwined in her hair!  Musically I had been listening to a lot of drone-based composers like Alison Cotton and John Cale and wanted to try and extract the maximum mileage we could from one chord on this one’.  Greg

Website: http://greendieselfolk.com/

Facebook: https://www.facebook.com/greendieselfolk

Related posts:

After Comes The Dark: new album from Green Diesel promises folk in glorious technicolor

Green Diesel at The Albion, Hastings 2017

Green Diesel album review – Wayfarers All

Green Diesel at Lewisham 2016

This week’s featured artist: singer-songwriter Martin Flett – debut album out now

Album reviews, Folk music, , , , , , ,

Prior to 2020, the sum total of Martin Flett’s songwriting was a solitary song. That’s not to say he’s ever been idle. He’d been a local government officer, gym owner, housing manager, TV quiz show champion and a successful powerlifter, with numerous championship titles under his belt as well as being the main commentator for the World and European Powerlifting Championships. However, as many of us discovered, the Covid lockdown period provided an ideal opportunity for nurturing latent talents and exploring new-found interests. Flett renewed his acquaintance with the guitar and soon turned his hand to crafting his own songs.

Martin Flett: “Sitting indoors day after day, apart from venturing out to exercise my dogs, I picked up a long neglected guitar and started getting to know it again. After a few weeks, song ideas started forming in my head. I likened it to muses planting seeds, and it was my job to grow them.”

He has since written over a hundred songs, eleven of which feature on this debut album, When The Introverts Come Out, recorded at the age of 68.

Flett: “I never intended or wanted to be a performer but I soon realised that if I didn’t ‘take my songs to market’ then no one else was going to and they would wither on the vine. My dream is still that one or more of the songs are taken forward by an established artist, but in the meantime it would be great to bring the songs to a wider audience and use the proceeds from CD sales and downloads to fund a follow up album.  The next set of songs is ready and waiting…”

Based in the Outer Hebrides of Scotland where he was born and brought up and returned to more recently, Flett recorded the album at Wee Studio in Ness, at the northern tip of the Isle of Lewis. A talented bunch of local musicians joined him in the studio, adding piano, accordion, fiddle, mandolin, electric guitar and percussion where it was required.

Combining folk, country and classic-era singer-songwriter influences, the result is this highly-impressive debut. Showcasing poignant, often highly-personal, lyrics and instantly-appealing melodies, When The Introverts Come Out is a thoughtful album with bags of charm and well worth exploring.

When The Introverts Come Out is available via martinflettmusic.co.uk

This week’s featured artist: singer-songwriter Jon Budworth – new album ‘In Sight of Home’

Album reviews, Folk music, , , , , ,

Born and raised in Leigh in Lancashire and now living in Otley, Yorkshire, Jon Budworth started playing guitar at the age of 11 and has been honing his skills, diversifying his repertoire and experimenting with various genres ever since, with rock, blues, folk, and jazz all featuring on his musical horizons.

Budworth’s  debut EP as a singer-songwriter, Time Machine, was released back in 2013 which was followed up by a second EP, Trees Turn To Fire, in 2014 which I was asked to review for the Bright Young Folk website. I remember being impressed by the release, writing at the time:

“Budworth’s bright, fresh sounding vocals and lovely melancholic guitar work extremely well. Budworth’s music definitely deserves a wider audience.”

What I wrote must have struck a chord because, ten years later, reading the publicity blurb for his latest album, I find that sentence staring back at me. In the intervening years, Budworth released his well-received debut full-length album, We all Share the Same Sky, back in 2020, with the excellent follow-up, In Sight of Home, coming out in June this year.

Jon Budworth: “The seed for In Sight of Home was sewn in 2019 after watching an incredibly moving BBC documentary commemorating the one hundredth anniversary of the Iolaire Disaster. I was immediately inspired to write a song and decided there and then it would become the title track on a new album.”

“It wasn’t until a certain pandemic hit that I had the time and space to continue writing. Shadow of the Chevin is a love song to my wonderful home-town of Otley. I’m originally from Leigh in Lancashire, but in 2017 I traded in my Lancashire passport, moved over the border, and became an honorary Yorkshireman! All is Quiet was written after taking a stroll around Otley on a beautiful April evening during the first lockdown – the normally bustling market town was eerily quiet and still. I wrote December on a dark and misty winter’s night as I found myself contemplating growing older and how quickly life passes by.”

“After covid, my normally hectic existence resumed and I wrote several songs dealing with the everyday stresses and strains of real life. In This Moment is about finding those rare moments of peace and tranquillity, a situation very often aided by a glass or two of wine! I Don’t Need Tomorrow is a song dedicated to anyone, who for whatever reason, is not looking forward to what tomorrow might bring. 1000 Faces is a song about fate and not taking anything for granted. Never deals with the thought of being forced to move away from a place you love.”

“Two of the songs are observations on modern life. Flatlining addresses first world problems  and many peoples need to live their lives through social media. I wrote Holyhead after visiting the town and seeing a homeless girl set against a backdrop of opulent cruise ships in the harbour. Ghost of a Girl was written after discovering a ghostly statue of Alice in Wonderland in a garden behind York Minster. She looked lost, alone and frozen in time on that grey and damp February afternoon.”

Most of the instruments on the album are played by Budworth himself, including drums, bass and guitar, but he’s also enlisted the assistance of several highly talented local musicians, as well as the as well as the highly acclaimed singer-songwriter, Edwina Hayes, who shares lead vocals on the title track.

With thought-provoking yet easily relatable lyrics, appealing melodies, impressive guitar-work and vocals that are still as fresh-sounding as ever, Budworth has come up with an extremely likeable album here which is well worth checking out, as is the rest of his back catalogue.

In Sight of Home was released by Flying Folkie Recording Co. on 7th June 2024

For Jon Budworth’s website visit here

Closer To My Home – new album from Grand Funk founding legend, Mark Farner

Music news, Rock music, , , , ,

Closer to My Home is the long-awaited new album from the legendary guitarist/singer-songwriter and founding member of Grand Funk Railroad, Mark Farner.

Celebrating the 55th anniversary of the iconic hit ‘(I’m Your Captain) Closer To My Home’, Farner revisits the song with a brand-new recording for the the album.

Mark Farner: “These songs are honest and from my heart,” Farner said. “The collaboration with Jim (Peterik) and Mark (Slaughter) came from a place of trust and that makes the whole experience so much more rewarding as songwriters. The audience can feel that, and these songs reflect those very human moments that you can’t find creating a song from a computer. Closer to My Home comes from the idea that love is at the heart of all that I do, and music is my home.”

As one of the founding members, lead singer and lead guitarist, Farner wrote the vast majority of Grand Funk Railroad’s back-catalogue and his soulful voice,  powerful riffs, great songwriting and energetic stage presence, combined to ensure Grand Funk Railroad were a great American success story.

Farner remains proud of his humble beginnings and a blue-collar outlook and this has been a defining element in his music. Over five decades later Farner commands the stage with the same intensity performing epic hits that defined a generation – ‘I’m Your Captain (Closer to Home)’, ‘Bad Time’, ‘Some Kind of Wonderful’, ‘Foot Stompin’ Music’, ‘Heartbreaker’, “Rock & Roll Soul’, ‘Locomotion’, ‘Mean Mistreater’ and ‘We’re An American Band’.

Performing with Mark Farner’s American Band, Farner’s songs continue to resonate with audiences. When I interviewed Farner back in 2021 he emphasised the importance of that connection with audiences through his music, which was there from the very start:

“I think people appreciated the heart behind it. There was always a sincerity because I meant what I said. And when I… walk on that stage, I am who my songs say I am.”

Closer to My Home is released on November 8th on Righteous Rock Records and is available via vinyl and CD.

Interview:

You can read my full-length interview with Mark Farner here

‘Days Rollin’ – new single to coincide with release of the latest album from Intelligent Music Project

Music news, Rock music, , , , , , , ,

To coincide with the release of their latest album, Miracles Beyond, this week, Bulgarian-based supergroup Intelligent Music Project have released a new single and video. ‘Days Rollin’ features lead vocals from Toto’s Joseph Williams, alongside Simon Phillips (drums), Ernest Tibbs (bass), Biser Ivanov (guitars) and Ivo Stefanov (keyboards).

The band have also released a video with Simon Phillips ((Toto, The Who, Judas Priest), John Payne (ex-Asia) and Ernest Tibbs discussing the making of the Miracles Beyond album and their work with Intelligent Music Project.

John Payne: “The songs are great, it’s an interesting album. There is some pretty rocky stuff on this one and I see influences from bands like Queen, progressive music, pop music and really deep meaningful songs.”

Milen Vrabevski, MD, producer, songwriter and founder of the project, “The album’s dedicated to free spirits – the driving force of the progress of humanity. It’s a testament to the spirit of collaboration and the power of music to transcend boundaries. Musically, we offer a good example of what a super-group product should sound like. It’s great to have all these musicians on board again. This is Simon Phillips’s 6th album with us, John Payne’s 5th, and Joseph Williams’s 4th. Such a star turnout is a special privilege for me, which again shows that we have another world-class product!”

About Intelligent Music Project

Intelligent Music Project is a Bulgarian supergroup with an exceptionally international line-up, created in 2011 by Bulgarian businessman, philanthropist, and arts patron Dr. Milen Vrabevski, who is not only the project’s producer but also the composer of the band’s music and lyrics.

Intelligent Music Project is a creative mix of melodic, hard-rock songs with progressive hooks, driven by catchy guitar riffs and keyboards, often combined with interesting symphonic textures and complex musical arrangements. The lyrics of Intelligent Music Project’s songs carry a positive and motivating message, with an emphasis on themes from everyday life, through which the author offers key advice about success based on his personal experience and vision. Through the language of music, Dr. Vrabevski aims to bring to the forefront basic values that can serve as a solid foundation for young people on their path to becoming mature adults leading meaningful lives.

Prior to Miracles Beyond, the band released seven albums – The Power of Mind, My Kind O’Lovin’, Touching the Divine, Sorcery Inside, Life Motion, The Creation, and Unconditioned. Intelligent Music Project was the Bulgarian representative to the Eurovision Song Contest 2022 in Turin, Italy, with the song Intention.

Besides the aforementioned musicians, over the years, the band has seen a stellar lineup, including John Lawton (Uriah Heep, Lucifer’s Friend), Ronnie Romero (Rainbow, Michael Schenker’s Group), Nathan East (Eric Clapton, Michael Jackson, Toto, Stevie Wonder, and more), Tim Pierce (Joe Cocker, Bon Jovi, Alice Cooper, and more), Bobby Rondinelli (Rainbow, Black Sabbath), and Todd Sucherman (Styx).

Miracles Beyond: released 15th May 2024

Visit website here

This week’s featured artist: Yorkshire-based singer-songwriter Serious Sam Barrett

Folk music, Music news, , , , , , ,

New album: A Drop Of The Morning Dew: Live At Bacca Pipes Folk Club released 1 March 2024

Distilling both folk and country influences and performing a heartfelt mixture of self-penned and traditional songs on 12-string guitar and banjo, Serious Sam Barrett was raised in the Dales village of Addingham and began performing in and around Leeds in 2004. With the release of his debut album Close To Home in 2009, word began spreading further afield and Sam was soon grabbing the attention of audiences both around the UK and in the US.

Having performed at SXSW in Austin, Texas in 2010, he has toured the US widely, usually in the company of friends and fellow skaters The Pine Hill Haints. Along the way, Sam has shared stages with the likes of Martin Carthy, Dave Burland, Katherine Tickell, Lucero, The Young Un’s, Frank Fairfield, Deer Tick and Karine Polwart, and received airplay and praise plaudits from the BBC’s Bob Harris, Marc Riley, Mark Radcliffe and Mike Harding.

Recorded live at a gig at a celebrated Keighley folk club in January 2023, Sam’s forthcoming album A Drop Of The Morning Dew: Live At Bacca Pipes Folk Club includes eleven self-penned highlights from his career, along with his own arrangements of a further seven traditional songs. A folk club has existed in Keighley in one form or other since the early 60s, adopting the name Bacca Pipes during the early 70s and playing host to a long line of notables such as Mike Harding, Swan Arcade, Julie Felix, Peter Bellamy, Norma Waterson, Martin Carthy and many more. It was a tradition into which Sam Barrett was born.

Serious Sam Barrett: “Folk clubs have always been part of my life. My parents met in one and I was taken to the clubs and festivals from a young age. The clubs have always been a massive source of inspiration for my music. The magic that happens week in and week out is impossible to put into words. Sometimes the experience is almost transcendental. The old pubs, the reverence for the singers, the jokes, the raffle, the stories and the music. There’s nothing like it.”

Ahead of the album release, Serious Sam Barrett is touring throughout February and March this year including a gig at the Music Room in the world-famous Liverpool Philharmonic on Thursday 15 February.

When I asked for a quote for this piece, Sam came straight back:

“What an honour to be part of Darren’s Music Blog!! Thanks so much I can’t wait! I’m in some very esteemed company there!!! Can’t believe I’m getting to play the world famous Liverpool philharmonic!! What an honour. And it’s all thanks to Mellowtone!!”

For all gigs visit:

https://www.serioussambarrett.co.uk/

Seven Stories (parts one and two): the new project from acclaimed Americana singer-songwriter, Little Lore

Album reviews, americana, Music news, , , , , ,

Seven Stories (parts one and two): released 23rd February 2024

“Storytelling is at the heart of Duffy’s songwriting but she finds a unique angle or topic on each track that brings a fresh perspective to a common and relatable issue.” – Maverick magazine on the 2021 debut EP from Little Lore

Following her fantastically well-received debut EP as a solo artist back in 2021, Seven Stories is the latest project from Tricia Duffy and her singer-songwriter alter ego, Little Lore. The first four songs, Seven Stories part one, were released digitally back in September 2023 with the final three songs Seven Stories part two being released in February of this year. A CD version, featuring all seven songs from both parts one and two, is also set for release on 23rd February 2024.

Little Lore: “I had seven songs and I decided to release it in two parts: Seven Stories part one and Seven Stories part two. I’m now thrilled to be releasing the final three songs from the project as well as the CD bringing all seven songs in the collection together. There’s a real variety of styles. Death is one of my go to subjects to write about so there are a couple of quite bleak, sad songs. I’ve got some wry wit in there as well. There’s obviously a climate change one as well – I always like to include one of those. It’s a figurative song written from the perspective of the planet.”

Featuring Little Lore’s compelling storytelling, irresistible melodies and heartfelt vocals, Seven Stories is again produced by renowned New York-based producer and multi-instrumentalist, Oli Deakin (who records under the name of Lowpines). As with the debut Little Lore EP and subsequent singles, Oli Deakin provides the lush instrumentation on each of the tracks, with Morgan Karabel, once again, featuring on drums.

Little Lore adds: “I recorded the vocals in a studio in Kent with an amazing producer and engineer called Paul Stanborough. Lowpines (Oli Deakin) has done the production and all of the instrumentation again and Morgan Karabel is playing drums once more. It is important to me to have women in the team so having a female drummer is really cool.”

On working with Little Lore, Oli Deakin comments: “Working with Tricia on her records as Little Lore has been a really fun journey. As a producer it’s always exciting to work with people who have great ideas, and even more so when they’re also open to building on those ideas and trusting where that might lead. Tricia has been very generous with that trust, which I think has given us both a lot of confidence to be adventurous with our approach, both in the writing and the recording. It’s super rewarding to go out on a limb with an idea and have it land in a place we both get excited about!”

For the full interview with Little Lore visit here

Six of the seven tracks were again written by Tricia Duffy while the final track, ‘It Would be Easier to Miss You if You’d Died’ was a writing collaboration between Tricia and musician and songwriter, Thiago Trosso. A part of the US Ska/Punk/Reggae scene and playing as a session musician in his home country, Thiago Trosso moved to the UK in 2015 with the goal of building a career as a songwriter and solo artist. He finished a Songwriting MA in London, and is now doing a PhD in therapeutic songwriting, opening the path for co-writing with numerous artists around the world.

Seven Stories (parts one and two) will be released on CD on 23rd February 2024 and the final three songs from the project will also be available on all the main digital platforms on the same date.

Available via https://littlelore.bandcamp.com or https://littlelore.ffm.to/sevenstoriespartone

Seven Stories – track by track:

  1. Running on Empty: “Written from the perspective of the planet, it’s sort of a love letter to the human race. The lyrics start “I hold you gently, while you destroy me. Running on Empty. I love you anyway. To get into the frame of mind I needed to write the song, I physically wrote a letter to humanity to help me get the sense of what I wanted to say, that the planet will survive the climate crisis just fine after we humans have wiped ourselves out, but she (Mother Earth) acknowledges that she benefits from some of our interventions. Despite the big topic, it’s a relatively simple song with a haunting Americana vibe.”
  2. Stolen Glances: “I wrote this song in response to a prompt from the Song-a-week challenge run by James Tristan Redding in Nashville. The prompt was “Stolen Glances” and I was travelling home from Cornwall on the train. I remember opening my computer and typing “on a train facing backwards, I steal glances”.  It has had quite a lot of re-writes since that first draft – I think the original version is still knocking around on YouTube somewhere – it’s quite a different song lyrically now. I tried to capture the sense of movement and observation that can be inspired on long journeys, the narrator is searching for answers, but there is almost a sense of not quite knowing what questions she is asking. I think we have all felt that way at some point in our lives.”
  3. The Bench: “This devastating song was inspired by the benches that line the seafront in St. Ives in Cornwall and the true story of a friend of mine who tragically lost her husband a few years ago. The song tells the tale of a man and a women who meet and fall in love despite their age difference. He leaves her once because of the social discourse around their circumstances, but later returns and they marry only to have him leave her again. In the bridge it is revealed he hasn’t left her voluntarily, but died. In many societies benches are incredibly important to people, who use them to memorialise their loved ones with plaques that articulate their feelings about a particular place. “He loved this place” – for example. By centring the story around the bench, we have a sense of a specific location with which to build the narrative. And I believe this makes it more relatable as a result.”
  4. Sebastian Says: “This is a song about imposter syndrome and the inner critic. I have named the voice in my head Sebastian so this is my tribute to him and a good way to tell him to button it! Obviously it had to be a man who tells me I am too fat, doormat, too old, too cold etc. It is a full on driving rock Americana song which probably needs to be played at full volume!” 
  5. The Jackal: “I originally wrote this for a TV Americana Crime brief, but I liked it so much I decided to release it myself.  There are lots of myths surrounding the Jackal, which are known in some communities as ‘death dogs’ or as tricksters.  The Egyptian God of the afterlife, Anubis, had the head of a jackal, so seeing a jackal was considered a warning that someone was in danger.  A bit like a fox in European folklore, in African folklore the Jackal is recognised for its ability to adapt with cunning and stealth, a wily creature that dodges traps by feigning death. It has a black saddle because it offered to carry the sun on its back, burning his fur, and inspiring the words in my chorus.”  
  6. Little Pieces: “I wrote this in response to a brief which was simply to write a song that was titled “little pieces” with a I IV V chord structure. I started mind mapping the words little pieces and somehow landed on the idea of food. I asked myself who eats food in little pieces? The infirm, babies, people at ‘80s dinner parties with pineapple and cheese on sticks? The lack of control people in care feel over all their choices I think can be summed up with the concept of food. Imagining what it must be like to have so little influence over your daily life that you can’t even decide what you eat must be disturbing. I had a lot of doubts about releasing this song as I know it is not going to be everyone’s cup of tea! But I took inspiration and confidence from the likes of Nick Cave and Tom Waits and decided to just go for it – with a lot of support from Oli who always believed.  The arrangement is entirely unsettling and I am sure it is not an easy listen but sometimes stories just need to be told.”
  7. It Would be Easier to Miss You if You’d Died*:“This was a co-write with my friend and fellow songwriter, Thiago Trosso. I always like to come to writing sessions prepared with some ‘writable’ ideas. I don’t always need them, but I think it is the spirit of co-writing to bring your best stuff to the room. That day I read out a list of ideas to Thiago and when I told him the concept I had of being ghosted and it being easier to miss that person if they’d died – he smiled and said, “Let’s write that one!”.  We knew it had to be a careful balance of wry wit and humour with sadness and I hope that we have struck that balance. It was inspired by a real experience of being ghosted which seems to be more common these days. Or maybe we just notice it more because we are all so connected. I think Oli thought I was crazy when I first sent him the song. It doesn’t fit a typical structure, starting with a half chorus to land the premise from the start. But he really leaned into the wry nature of the song and I think the instrumentation really enhances the feel. This is the first time I have ever cut a co-write, but I am positive it won’t be the last.”

Seven Stories: release information:

All Tracks written by Tricia Duffy except *written by Tricia Duffy and Thiago Trosso

Vocals – Tricia Duffy 

Produced by – Oli Deakin

The Bench Drums – Oli Deakin

All other tracks Drums – Morgan Karabel 

All other instruments – Oli Deakin

Vocal Recording – Paul Stanborough at Chapel Studio, Kent

Artwork – Afiya Paice

About Little Lore:

Little Lore is a London based, Indie-Americana singer-storyteller whose songs are both charmingly accessible and beguilingly challenging. You’ll want to listen twice. When you combine British wit and wordplay with cherished Americana roots, musical magic starts to happen. Based in Chiswick, West London, and originally hailing from Portsmouth, Tricia Duffy started her singing career as a teenager, which included a stint on cruise ships in the United States.  She began writing and performing her own material with Americana duo Duffy & Bird and they released a well-received album ‘5 Lines’ in 2017 and a follow-up EP ‘Spirit Level’ in 2019.

Tricia’s solo project Little Lore was created in 2020 during the pandemic. Her debut solo EP, Little Lore, was released in 2021 to glowing reviews. The singles, ‘Shallow’, ‘Brown Liquor John’ and ‘Birds’ were released in 2022 to similar acclaim, followed by another equally well-received single ‘Normal’ in January 2023. An enthusiastic advocate for songwriters, she is the London Chapter Coordinator for NSAI (Nashville Songwriters Association International) and is especially passionate about creating opportunities for female, transgender and non-binary songwriters.

In her songs, Little Lore brings together an affection for the heart and heritage of Americana music, with an intelligence and maturity of storytelling that can sweep you away into new and unexpected emotional worlds.

Seven Stories (parts one and two): released 23rd February 2024

Related posts:

The gripping tale of Little Lore: interview with Americana singer-storyteller, Tricia Duffy

Little Lore: the magical new project from UK Americana singer-storyteller Tricia Duffy

‘Normal’: a gorgeous slice of lush Americana – the new single from Little Lore