Missouri-born, Valerie Smith is a renowned Americana, roots and bluegrass singer who has been recording and performing since the late ‘90s. Her latest project, Maggie’s Journal, is an ambitious double-disc album which has been twelve years in the making, inspired by the journals of her late grandmother, Margaret. Decades after Margaret’s death, a journal was discovered in a trunk in the attic by Smith’s cousins, giving a raw and powerful first-hand account of life in late-nineteenth century rural Missouri. Detailing a brutal existence marred by poverty, domestic violence, infant mortality, spousal addiction and endless betrayal, Little House on the Prairie this is not.
Valerie Smith: “Her story was surprising for many reasons; she had told no one of her younger years. We found out that she had been married at a very early age to a violent man, and we also learned that under her hardened exterior was a beautiful, kind, and gentle soul. She has a story to tell and her words are very personal, emotional, and raw. To me, her story is a masterpiece about life was like on the Missouri farms after the Civil War. This project took me 12 years to create because I literally felt that I was writing music with my great-grandmother, Maggie, whom I had never met.”
Featuring a mixture of original song compositions and spoken-word readings over musical accompaniment across it’s thirty tracks, Maggie’s Journal, is an enormously powerful tale of hardship, endurance and resilience but ultimately one of independence, love and fulfilment. Smith is a powerful storyteller and while the words do not always make for comfortable listening, it’s an absolutely gripping album that’s beautifully performed.
Pareidolls, a five-piece teenage band from the Wirral, have released their debut single ‘Jessie’. Backed by B-side ‘Give & Take’, it’s being made available digitally and as a limited-edition physical 7-inch via Red Licorice Records.
Blending sharp-edged rock with melodic new wave influences, Pareidolls have quickly built a reputation for songs that balance attitude with pop sensibility. ‘Jessie’ captures the band’s driving energy and hook-laden songwriting, while ‘Give & Take’ showcases a darker, more urgent side of their sound.
Pareidolls are Georgia Attwood (vocals), Freya Wilcox (drums), Bethan Sheldrick (bass), Tabitha Law (guitar) and Biba Russell (guitar). Their sound and style recall the golden age of female-fronted rock bands, drawing comparisons to acts such as The Go-Go’s, The Bangles and L7, while remaining firmly rooted in the present.
Photo credit: Robert Russell
Drummer, Freya Wilcox, says: ‘We’re ecstatic to be able to share Jessie with this release; it encapsulates a lot about who we are musically and we hope it makes people happy!’
Newly established on the Merseyside music scene, the band regularly perform at Liverpool venues including EBGBS, Zanzibar and the O2 Academy. They have already supported notable artists such as The Lounge Society, Glen Matlock (Sex Pistols), XGENERATIONX (featuring Steve Norman of Spandau Ballet) and the late Clem Burke of Blondie.
The release of ‘Jessie’ marks an important milestone for Pareidolls, representing their first physical single and the start of their collaboration with Red Licorice Records.
Photo credit: Robert Russell
‘Jessie’ Released: 2 April 2026
Live dates:
London Launch Gig: Water Rats – 2 April 2026 – Tickets
Liverpool Launch Gig: Heebies Tunnel – 5 April 2026 – Tickets
‘Don’t Speak’ is the third single from the warmly-anticipated new album by London-based singer-songwriter, Little Lore aka Tricia Duffy. Inspired by the work of Tennessee Williams, the full album, Being Serafina, will be released in June this year and is named after the central character in Williams’ celebrated play from the 1950s, The Rose Tattoo. ‘Don’t Speak’ is released on 26th March, to coincide with the 115th anniversary of Williams’ birth.
Little Lore:“Being Serafina began as an academic experiment. I wanted to explore whether Method acting techniques could be used as a songwriting device. I signed up for Method acting classes and 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. My first song arrived, written from the perspective of the main protagonist in The Rose Tattoo, 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.
Discussing the new single, ‘Don’t Speak’, Little Lore explains:
“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.”
Renowned New York-based producer and multi-instrumentalist, Oli Deakin, (who records under the name of Lowpines) produced the single and the forthcoming album and, as with previous Little lore releases, provides much of the instrumentation.
Written and performed by: Little Lore AKA Tricia Duffy
Produced by: Oli Deakin
Drums: Morgan Karabel
All other instruments: Oli Deakin
Artwork: Richard Cranefield
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.
A singer and guitarist who’s been making waves on the folk scene in recent years, Cumbria-born Holly Clarke has performed alongside the likes of Nancy Kerr & James Fagan, Daoiri Farrell and Queer Folk. Appearing at festivals and venues such as, Sidmouth Folk Festival, Bromyard Folk Festival, Tiree Music Festival and The Glasshouse International Centre For Music, between 2019 and 2020 she was Artist in Residence at the latter, specialising in Traditional Folk Song and Ballads.
As well as performing solo, Holly has a duo with George Sansome (Granny’s Attic), The powerhouse band RE:VULVA (Amy Thatcher, Janice Burns, Cathy Geldard) and she also gigs with the trio, Holly and the Reivers, reviewed here back in 2024.
Wild Feral Fierce is Clarke’s debut solo album. Across ten tracks which mix interpretations of traditional ballads with original material, it’s an album that’s deeply rooted in folklore, myth and metaphor.
Holly Clarke: “The tracks on this record summon visions of the macabre, the supernatural and iconic figures from folklore and myth. This album is an unearthing of themes that aren’t just found lying dormant in the furrows of the land, they are alive and more relevant than ever.”
Traditional songs include beautifully atmospheric interpretations of well-known classics like ‘The Spectral Stag’ and ‘John Barleycorn’. However, like the late, great Bob Johnson of Steeleye Span, who had a similar fascination with such other-worldly themes, Clarke doesn’t just look to the British Isles for inspiration but also delves deep into the folk myths from Scandinavia where they’ve long excelled at this stuff over many centuries. ‘The Maiden Hind’, a classic Danish shapeshifting ballad, and ‘Sir Aage and Lady Elselil’, which has its roots in old Norse texts are two such tracks on this album.
Alongside her passion for adapting traditional ballads, Clarke is also a talented songwriter. The self-composed title track of the album, is a song where shape-changing is a metaphor for the joy that comes from self-acceptance and positive transformation.
Joining Clarke on the album is a core band featuring Anna Hughes (of Salthouse & Watersmeet) and fiddle and viola; Amy Thatcher (of Kathryn Tickell & The Darkening & The Shee) on accordion and synth; and John Pope (of Archipelago & MeLostMe) on double bass. The album also features a guest appearance from Kathryn Tickell on Northumbrian pipes.
Haunting and ethereal, with compelling storytelling and captivating vocals, Wild Feral Fierce is a wonderful slice of trad. arr. inspired folklore.
‘Evil Eye’ is the second single from the forthcoming new album by London-based singer-songwriter, Little Lore aka Tricia Duffy. Inspired by the work of Tennessee Williams, the full album, Being Serafina, will be released in June this year and is named after the central character in Williams’ celebrated play from the 1950s, The Rose Tattoo. ‘Evil Eye’ is released on 25th February, the anniversary of Williams’ 1983 death.
Little Lore:“Being Serafina began as an academic experiment. I wanted to explore whether Method acting techniques could be used as a songwriting device. I signed up for Method acting classes and 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. My first song arrived, written from the perspective of the main protagonist in The Rose Tattoo, 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.
Discussing the new single, ‘Evil Eye’, Little Lore explains:
“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.”
Renowned New York-based producer and multi-instrumentalist, Oli Deakin, (who records under the name of Lowpines) produced the single and the forthcoming album and, as with previous Little lore releases, provides much of the instrumentation.
Written and performed by: Little Lore AKA Tricia Duffy
Produced by: Oli Deakin
Drums: Morgan Karabel
All other instruments: Oli Deakin
Artwork: Richard Cranefield
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 London 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.
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.
Released on 3rd February, ‘Fair Weather’ is the first single of a brand-new musical project from London-based singer-songwriter, Little Lore aka Tricia Duffy. Inspired by the work of Tennessee Williams, the full album, Being Serafina, will be released in June this year andis 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.”
“My first song arrived, written from the perspective of the main protagonist in The Rose Tattoo, 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.
Discussing the first single, ‘Fair Weather’, Little Lore adds:
“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). A simple song that seems positive but with minor arrangement that offers a sense of foreboding and hints at what will unfold.”
Renowned New York-based producer and multi-instrumentalist, Oli Deakin, (who records under the name of Lowpines) produced the single and the forthcoming album and, as with previous Little lore releases, provides much of the instrumentation.
Written and performed by: Little Lore AKA Tricia Duffy
Produced by: Oli Deakin
Backing vocals: Bella Collins and Ella Tobin
Drums: Morgan Karabel
All other instruments: Oli Deakin
Artwork: Richard Cranefield
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 London 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.
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.
Following a gap of nine years since their previous release, popular Shetland indie folk rock band, The Revellers, are back with their third album, Reactors. The Revellers are Michael Anderson (lead guitar), Magnus Bradley (lead vocals, guitars), Daniel Gear (fiddle), John William Halcrow (drums, vocals), Erik Peterson (mandolin, vocals). Lewie Peterson (banjo, mandolin, tenor guitar, vocals) and Adam Priest (electric and double bass).
Often described as ‘heavy folk music’, The Revellers are seven musicians brought up on a typical millennial musical diet of alt rock, punk and metal that’s combined with a love and reverence for traditional music that’s an intrinsic part of any Shetland upbringing. The result is an explosive mix of soaring melodies, searing guitar riffs and energetic fiddle, mandolin and banjo.
From reflections on the challenges and contradictions of modern life (‘The Reflector’) to standing up for what’s right (‘Stand Up and Fight’) there are themes that wouldn’t be out of place on any typical indie rock album, but this being a band with traditional influences at its heart there’s also material like a reworking of Rhoda Butler’s poem ‘Clearances’ in the Shetland dialect and the song ‘Republic of Vinland’ which celebrates Shetland’s Norse heritage.
An album fizzing with energy and verve, it’s one that will appeal to ardent rock fans as much as dedicated folkies. Highly recommended.
I’ve always had a bit of a soft spot for early ‘80s Uriah Heep. Even though I would become totally besotted with the Hammond-pounding Hensley/Byron era, my entry point into the music of Uriah Heep was not through demons, wizards or magicians but rather through the Abominog album in 1982. And it was the Peter Goalby-fronted version of the band which I first saw live as a teenager.
Accordingly, I was delighted when two albums of archive solo material finally saw the light of day several decades after Goalby retired from the music business. These being Easy With the Heartaches (reviewed here) in 2021 and I Will Come Running in 2022.
Just as we might have thought the archives were now well and truly empty, a third solo album has also just been released. Goalby originally recorded the album not long after leaving Uriah Heep. However, it was only when a poorly labelled DAT was spotted at a storage facility over 30 years later, that the lost album was rediscovered.
Peter Goalby:“In 1987 I was offered a recording and publishing contract with RAK Records just after I’d left Uriah Heep. I thought these songs would be very commercial in the 1980s and Smokie recorded Fallin’ Apart. I later found out the master tapes had been lost and I silently carried the disappointment that music I’d put my heart and soul into was gone forever. Never say never!”
The nine-track album was personally overseen (from tape transfer, mastering and artwork) by Goalby. What will be of particular fascination for Heep fans is that this lost album was only finally completed in 2025 when Goalby’s former Uriah Heep bandmates, Mick Box (guitar) and John Sinclair (keyboards), added the final overdubs to the tracks.
While it’s immediately obvious that this is an album that could only have been made in the 80s and contains many sonic motifs of the era, production-wise Don’t Think This Is Over is a very polished affair. It comes over as a fully-rounded album in every sense, not simply a collection of archive material. Songs like ‘I’ll Be The One’, ‘It’s Just My Heart Breakin’’ and the title track are all instantly catchy yet satisfyingly muscular AOR containing some great guitar licks and showcasing Goalby in very fine voice. Meanwhile, ‘Another Paper Moon’ and ‘Fallin’ Apart’ underscore his knack for turning out some great lighter-in-the-air (not phones – it’s still the ‘80s remember!) anthemic rock ballads.
Don’t Think This Is Over is essential listening for any fans of Peter Goalby / ‘80s Uriah Heep and is a very worthy companion both to his recently-released solo albums and to Abominog, Head First and Equator.
Assembled as a showcase for the songwriting of North Carolina-based Cameron Thomas, songs that “share the humble joys, struggles and mysteries of Southern life”, the North Carolina-based four-piece Sufferin’ Fools recently released their second EP.
Sufferin’ Fools are singer/songwriter and guitarist, Cameron Thomas (who played and toured with The Delta Drift and The Corduroy Road); lead guitarist/pedal steel man, Andrew Wagley (a former member of Po Boyz); bass-player, Christopher (a former sound engineer); and drummer, Pete Schreiner (ex- Songs: Ohia/Magnolia Electric Co.)
Following an excellent debut (the four-track EP Bound To Get Burned, released in 2024) a five-track follow-up Forest for the Trees, came out in September this year.
Announcing the release of Forest for the Trees, Thomas said: “Even the best memories fade. Art, and music specifically, is a way to capture moments, preserve emotions good and bad, and memorialise life’s victories and failures – because they tell a story of who we are.”
Indeed, Forest for the Trees doesn’t shy away from the times when life hits you hard and the hard-learned lessons that stem from that. Most of the songs were written in the months preceding Hurricane Helene which caused catastrophic damage and numerous fatalities across the Southeastern United States, then promptly recorded in the aftermath of the storm.
“Musicians’ feelings can’t help but come out through soundwaves,” reflected Schreiner. “We were lucky to have a place to channel our emotions.”
“One of the greatest pleasures of this project for me,” added Thomas, “is being accompanied by an authentic and experienced group of musicians who perform as if the stories are their own to tell. I think they make my voice as a songwriter stronger, more real and far more effective.”
Rootsy and gutsy but deliciously laid-back, with gorgeous pedal steel and heartfelt vocals addressing everyman themes, whether you’re in the rugged mountain regions of North Carolina or here on the south-coast of England, what you’ll find in Forest for the Trees is warm, honest rock and roll Americana, for the heart and for the soul.
The exotically-titled Metagama Ensemble take their name from the SS Metagama, a ship whose voyage across the Atlantic in the 1920s, marked the beginning of a mass emigration scheme from the Hebrides to Canada.
The Metagama Ensemble explain the aim of Metagama: An Atlantic Odyssey as follows:
“Movingly commemorating and celebrating the lives of the young emigrants, from the heartache of homesickness and separation, the emotional poignancy of tragedy and loss, to the lively fun of cèilidh tunes on the dance floors of North America, this album gives voice to the experiences of those who left and those who were left behind, telling the story of an important but little-known period in Hebridean history, the devastating impact of which is still felt in the islands today.”
Originally conceived as a live show, Atlantic Odyssey began life as a Creative Scotland-supported tour of the Highlands and Islands in 2023. Since then, the Metagama Ensemble project has grown exponentially. Interest in the project and the stories around the mass emigration, has been widespread, with capacity audiences throughout the tour, followed by a sell-out show at Celtic Connections in 2024.
Countless requests for a recording of the concert prompted the Ensemble to release an album. It was recorded in Black Bay Studio on Great Bernera and in The Wee Studio on the Isle of Lewis, while also including several live tracks from Celtic Connections and Eden Court Theatre.
Across thirty-six tracks, a mixture of traditional Gaelic songs, brand-new songs performed by the ensemble in English, original instrumental pieces and spoken-word segments, the album features writer and poet, Donald S Murray; pianist/singer-songwriter, Liza Mulholland; Gaelic actor and 7:84 Theatre Company co-founding performer, Dolina MacLennan; Gaelic singer and piper, Calum Alex Macmillan; fiddler, Charlie Mackerron; singer-songwriter, Willie Campbell; and cellist Christine Hanson.
Poignantly commemorating the lives of the Hebridean migrants and of those left behind, Metagama: An Atlantic Odyssey is a gripping collection of beautifully-performed music and compelling storytelling.
