Ghost Town Blues
Ghost Town Blues is available at:
Soul; Blues; Americana
Written by LAUREN HOUSLEY (copyright control) and THOMAS DIBB (copyright control)
LAUREN HOUSLEY – Lead and backing vocals
CRAIG HANSON – Drums
MARK LEWIS – Bass/Backing Vocals/Percussion
THOMAS DIBB – Electric Guitars/Piano/Tambourine/Backing Vocals
LAUREN HOUSLEY – Claps and Foot stomps
STEVE PARRY – Organ
Ghost Town Blues Choir – TOM BARBER-REDMORE, JON KENZIE, PENNY NICHOLLS, HAYLEY WILLIAMS
Produced by MARK LEWIS and THOMAS DIBB
Executive Producer LAUREN HOUSLEY
Engineered and Mixed by MARK LEWIS
Mastered by PETE MAHER
Assistant mixing by ADAM STOKEL at SPIRIT STUDIO (Manchester)
Assistant engineering by MARK WAGSTAFF and GREG CHICHE
Album photography by SVEN ESELGROTH
Album artwork by JULIA LOWE
Makeup by JOY ONONOKPONO
BIG BAD RECORDINGS
The album Sweet Surrender is available from August 28th.
The album is available to pre-order at:
Nice to See Ya– 9.4
The Waiting Game– 9.4
If You Were Mine– 9.4
Face the World Alone– 9.3
Ghost Town Blues– 9.5
When Autumn Came– 9.3
Sweet Surrender– 9.3
Show Me What Love Is– 9.4
It Ain’t About You– 9.4
All You Need is a Friend– 9.3
Nice To See Ya; Ghost Town Blues; Show Me What Love Is; It Ain’t About You
Ghost Town Blues
All tracks written by LAUREN HOUSLEY and THOMAS DIBB
All tracks produced by MARK LEWIS and THOMAS DIBB
Executive Producer LAUREN HOUSLEY
All tracks Engineered and Mixed by MARK LEWIS
All tracks mastered by PETE MAHER
Assistant mixing by ADAM STOKEL on tracks 2, 3, 4 and 5 at SPIRIT STUDIO (Manchester)
Assistant engineering by MARK WAGSTAFF and GREG CHICHE on tracks 5 and 9
Lead and backing vocals on all tracks by LAUREN HOUSLEY.
‘Nice To See Ya’
CRAIG HANSON – Drums, ALAN KEARY – Bass, THOMAS DIBB- Electric Guitar/Acoustic Guitar/Resonator/Backing Vocals, SCOTT POLEY – Dobro, STEVE PARRY- Organ, Rhythm Section and Vocals Engineered by DAVE KEARY at RED DOOR STUDIO (Limerick)
‘The Waiting Game’
CRAIG HANSON – Drums, ALAN KEARY – Bass, THOMAS DIBB – Electric Guitar/Guitar Solo/Piano/Backing Vocals/Claps, JACK MCCARTHY – Congas and Percussion, Mark Lewis – Backing Vocals/Claps, STEVE PARRY – Trumpet/Sax/Trombone/Organ/Wurlitzer, Rhythm Section and Vocals Engineered by DAVE KEARY at RED DOOR STUDIO (Limerick)
‘If You Were Mine’
JOHN HIRST – Drums, ALAN KEARY- Bass, THOMAS DIBB – Electric Guitar/Acoustic Guitar/Banjo, EWAN GUILFORD – Piano, SCOTT POLEY – Pedal Steel/Acoustic Guitar/Percussion, TOM BARBER-REDMORE – Backing Vocals
‘Face The World Alone’
JOHN HIRST – Drums, MARK LEWIS – Bass/Percussion/Backing vocals/Friction Fingers, THOMAS DIBB – Electric Guitar/Acoustic Guitar/Backing Vocals, LIVIU GHEORGHE – Piano/Electric Piano/Prepared Piano, SCOTT POLEY – Pedal Steel
‘Ghost Town Blues’
CRAIG HANSON – Drums, MARK LEWIS – Bass/Backing Vocals/Percussion, THOMAS DIBB – Electric Guitars/Piano/Tambourine/Backing Vocals, STEVE PARRY – Organ, LAUREN HOUSLEY – Claps and Foot stomps, Ghost Town Blues Choir – TOM BARBER-REDMORE, JON KENZIE, PENNY NICHOLLS, HAYLEY WILLIAMS
‘When Autumn Came’
THOMAS DIBB – Piano, CHRIS HILLMAN – Pedal Steel, ANDY CRICK – Cello, SIMMY SINGH – Violin
CLIVE MELLOR – Harmonica, JOHN HIRST – Drums, JOHN POPE – Double Bass, THOMAS DIBB – Electric Guitar/Acoustic Guitar/Piano/Backing Vocals, STEVE PARRY- Organ/Production/Engineering, SCOTT POLEY – Pedal Steel, RACHEL LASHAM – Percussion, MARK LEWIS – Backing Vocals
‘Show Me What Love Is’
STEVE PYCROFT – Drums, JOHN POPE – Double Bass, ALEX DEE – Electric Guitar, THOMAS DIBB – Acoustic Guitar/Piano/Backing Vocals/Banjo/String Arrangement, SCOTT POLEY – Pedal Steel/Electric Guitar, STEVE PARRY – Organ/Production/ Engineering, MARK LEWIS – Backing Vocals, String Quartet – Leos Strings: RACHEL SHAKESPEARE – Cello, CAROLINE PETHER- Violin 1, ROSEMARY ATTREE – Violin 2, ALEX MITCHELL – Viola
‘It Ain’t About You’
STEVE PYCROFT – Drums, JOHN POPE – Double Bass, THOMAS DIBB – Electric Guitars/Acoustic Guitar, STEVE PARRY – Wurlitzer, RACHEL LASHAM – Congas and Percussion, Backing Vocals – PENNY NICHOLLS and HAYLEY WILLIAMS
‘All You Need Is A Friend’
CRAIG HANSON – Drums, MARK LEWIS – Bass/Backing Vocals/Percussion, THOMAS DIBB – Piano/Acoustic Guitars/Backing Vocals, PHIL ROGERSON – Backing Vocals, RACHEL LASHAM – Percussion, STEVE PARRY- Organ
Album photography by SVEN ESELGROTH
Album artwork by JULIA LOWE
THE past few days have provided…
a chance to investigate some terrific artists. From U.S. Americana to British Folk it has been an interesting last few days: the arrival of my next review subject causes me much pleasure. When reviewing Little Sparrow last week- British-based artist Katie Ware- I was staggered by her work (I reviewed her song Wishing Tree) and the talent behind it- and how far she has come. I love reviewing band, but for my money, the solo market provides bigger promise- the effort needed (to succeed on your own) is immense. Solo acts have managers and support, yet there is a huge task ahead: they have to forge their own career; take on all the creative duties- it can be quite a lonely life. If that were not bad enough, there is still that (public tendency) to air towards the band market: the public purse usually favours this type of music; sole acts tend to play second fiddle. Because of the constraints of lone performing- the amount of sound/variety you can produce is already limited (compared to bands) – it is harder to find popularity; there are definite constraints. When a great solo artist comes along, it makes it all the more impressive. After reviewing Manchester-based (Cambridgeshire-born) Little Sparrow, here is another Manchester singer-songwriter: an artist with a tremendous future ahead. When speaking (via email) with Lauren Housley, I was amazed by how accommodating she was: all the information/photos/links I required were provided- and a lot more. Keen and enthusiastic, it was a pleasure to see- few acts have so much passion and an incredible personality. When looking into Housley’s music- and her biography- I was struck by the immense quality and unique bent. Someone who is very much separate from the crowd, you will not hear another like her- the music on offer is among some of the most captivating and memorable. Utilising the classic sounds of Americana and Country, Housley ties this to Blues and Soul motifs; adds some Blues-Rock swagger together with some Pop sweetness- the resultant creation is something few listeners can/should resist. Aside from a stunning sound, Housley boats two other weapons: a tremendous voice and wonderful songbook. Before I continue (on this point) let me introduce Housley to you- in her own words:
“A woman walks into a bar and asks: “Do you want some live music?” In no time, the place is ringing to the vibrant and original sound of one of the most notable new voices in Britain.
The artist in question is English chanteuse Lauren Housley, who’s been tirelessly honing her stage and song craft, playing regular gigs for her ever-expanding fan base as well as some of those impromptu ones, and winning widespread acclaim for all of them.
All of that groundwork by the native of Rotherham in South Yorkshire, now based in Manchester, will soon culminate in ‘Sweet Surrender,’ the excellent debut album she is ready to unveil. Housley’s songs, all written with longtime creative partner Thomas Dibb, evoke the same ambience as some of her forerunners among strong, empowered female artists, such as Janis Joplin, Eva Cassidy and Lauryn Hill.
After the promise of her ‘Rather Be There’ single and the earlier ‘One Step Closer’ EP, the album confirms the arrival of a vocal and songwriting presence with tinges of blues, Americana-style country, old-school soul, pop and rock in her locker, but a warm, intense and engaging style that’s all her own.
To name just two examples, the slow-burning intensity of the ballad ‘Show Me What Love Is’ turns heads every time she sings it. Meanwhile, the upcoming single ‘Ghost Town Blues’ moves stylishly among its soul influences from Massive Attack to Motown. And they’re just a taste.
“I think I’ve always had an ability to connect with certain emotions,” says Lauren of her emotive style. “I’ve been writing songs since I was about 13, but back then, I probably didn’t know that I was. It was just a form of expression at the time.”
Around a packed datebook of gig engagements, such is her popularity, Housley made ‘Sweet Surrender’ in three different locations, with some of the best up-and-coming young musicians Britain has to offer. Sessions included time in Ireland at the studio owned by Dave Keary, guitarist with Van Morrison, and featured his son Alan playing bass.
Further recording took place in Wallasey, on Merseyside, with multi-instrumentalist and producer Steve Parry, whose extensive credits include being musical arranger on ‘The Voice.’ Producer Mark Lewis then recorded some tracks and ultimately oversaw the whole set. “He’s ended up developing the whole album,” says Lauren, “which is really nice, because it’s given it an all-round feel.”
Housley grew up in a household where her parents were “massive music fans,” and although there’s no professional lineage, her dad loves to sing and does a great Elvis. In her pre-teens, Lauren was a British aerobics champion, travelling the country and practising every day. Then came her formative songwriting, and when her mum came home with an Eva Cassidy album, a creative light really went on.”
The solo market- and especially the female solo realm- is producing some interesting artists. In the mainstream there are some rather bland examples (the likes of Lucy Rose leap to mind) but some terrific acts (the likes of FKA twigs for one) – in the new music sector, there is more choice and quality. Lauren Housley rises above her peers due to her confidence and natural ability- there are few voices as potent and attention-grabbing. With her album around the corner (Sweet Surrender) tongues and mouths are salivating: it will be a chance to see the young artist in full flight. Having received the album as a private link- the perks of being a reviewer- nah nah! – I can attest to its potential: it is one of the most scintillating and diverse albums I have heard (this year). Housley’s unique perspectives and touching tales bring her songs to life; her compositions are rich and filled with detail- that immense voice is one to behold. The solo artist has a lot of hurdles to face; the stress of getting attention and gigs- the endless work to ensure their careers can flourish. Housley has little to worry about: her early work is filled with wonderful moments; there are no weak links or lesser tracks- the entire listening experience is phenomenal.
Lauren Housley’s album is the first fully fledged account of the young star: an opportunity to see her songwriting in full force; that voice let loose. To my mind, she has grown in confidence; her music has developed greatly. Rather Be There was released last April and was hotly received. Filled with passion and energy, the song is alert and packed with romantic implore. Housley’s vocals are striking and bold throughout- reaching fever-pitch at times. A bracing and staggering deceleration, it remains a superb song. Her E.P. (One Step Closer) contains the same urgency and confidence: the songs are uplifting and vibrant; it is a wonderful set. That said, Housley has improved and developed (since then): a songwriter, her lyrics are stronger and deeper- filled with more detail and insight; her new confidence and inspiration is to be applauded. The compositions are fuller and more nuanced; as a singer her voice has come on bounds- it is more electrifying and bracing; stronger and more rounded; bigger highs and more delicate lows. Whether live experience/touring- or perhaps a natural development- Lauren Housley has built on her early promise; improved her craft and vocals- the future will be very exciting indeed.
After a few seconds of ethereal echo- adding in the spectral ghost feel in from the start- the track pounds in to life. A rifling beat is delineated: possessing (strangely) Hip-Hop-style kick, it is rushing and gripping- making you wonder just what is coming next. When Housley steps up, her voice is instantly bracing: both urgent and soulful, it is an arresting sound. Before you can take it all in, your mind focuses on the early sentiments: “So black was the night /Not a soul to be seen under the streetlight /Heaven’s been shut, it’s closing down/So what were you thinking?” Alone in the ghost town (the song’s subject) is addresses with a lustful voice. From the off, my mind was looking in different directions. When it comes to the ‘who’ behind the lyrics, perhaps a sweetheart or former partner? There is ambiguity and obliqueness to the early exchange: the listener is left conspiring and imagining- just who is being addressed. The lyrics certainly paint vivid images: your thoughts race and tumble; the scenes and sights come fast- every person will have their own interpretation. In the verse, Housley’s voice is fairly dark and husky: a serious and world-to-rights delivery, there are signs of Amy Winehouse to the delivery- yet Housley ‘s voice is a lot more powerful than the late Winehouse. By the time the chorus arrives, the composition lightens; the song becomes more upbeat and sprite. I wouldn’t go as far to say ‘jubilant’, fierce. Rebelling and fighting, the chorus is an electrifying testament. The lyrics- of the chorus- have less ambiguity; by this stage there is a little less mystery- it is not so much the ‘who’ but the ‘what’ that is evident. Maybe not an attack/rally against a particular subject, there seems to be (and I may be off here) a push against life; bad luck and dark forces. Whether directed at a group of people; the way some think only of themselves- or the troubles in the music industry- it seems Housley has had some heartache. With its strong and intriguing lyrics (“So I said… Come on, ready when you want me, No fear/keep the karma coming/I’m here, standing on my own two feet /Just keep on looking at me /You ain’t got nothing on me.”) There is that endless sense of defiance; Housley’s voice and spirit is mesmerically charged- backed by the Ghost Town Blues Choir- she is on fire; the composition crackles and dances; the instruments fizz and spark- the entire mood drags you in; you’re powerless to resist. Throughout the song I am caught between romance and community: the song looks at broken hearts and disreputable sorts; there is a wider sense of discontent and anger- that mystery keeps presenting itself in every line. By the next verse, Housley is directing her words to a subject; someone who is going to be hurt; you sense heartache is just around the corner- “Darkness fell, in the blink of an eye/So what were you doing?/All alone with the bad guy that night.” Seemingly foolish and naïve (the subject) you get a sense of repeated patterns- perhaps this person has been here before; not listened to advice and reason. Housley’s vocal remains strong and sturdy; filled with panache and caution, it is an intoxicating blend- seamlessly uniting Soul prowess with Pop undertones. Where contemporaries of the mainstream tend to falter in one aspect- usually the lyrics or the originality of the vocal- Housley shows herself to be a wonderful talent- succeeding where (most) fail. The vocal work is an exercise is emotion and nuance; the lyrics constantly engaging and fascinating- the composition is rich and variable; never slowing or relenting. At the heart of Ghost Town Blues is a sense of personal reflection; in the midst of it all Housley questions her own self- the latter lyrics are the most intruiging. When our heroine announces “All I hear are little voices say/Go back (go back, go back, go back)/Go back (go back go back go back)”, you start to wonder again- go back to a former life? A town/hometown? Maybe an old profession/way of life? A relationship or single life? There is that caught-in-two-minds mystique- each line is fascinating and gripping. Hoping it was a dream, Housley opens her eyes- the nightmare/pain is real- there is that longing to get away; break from a way of life- shake the voices in her head. By the closing moments, the defiance rating has reached boiling point: in spite of everything, Housley stands on her feet; battling against the tide, she is not going to be broken- not one to be defeated or overcome. It is the rush of the composition that keeps proceedings ‘light’ and level- against the introspection and investigation of the lyrics. That commingle of emotive lyrics and rushing notes blend perfectly; the fusion is a perfect blend of classic Soul via modern-day vibes. Backed by a wonderful band- and terrific backing vocals- Ghost Town Blues is a cacophony of emotion, intelligence and vibrancy. It is impossible not to move the feet; compel your body to move- at the very least a huge smile is on the face. That takes care of the emotional centre of the brain. When it comes to reasoning and processing, the words delve deep: yu feel sympathy and empathy (at the struggle and sadness); support at the sense of rebellion and strength- it is a song that grabs different parts of the brain. At the very heart is heart itself: a track that speaks directly to the listen; can be appreciated by all- it resonates at a personal level, whilst retaining a very distinct voice and personality. Ghost Town Blues is a perfect slice of Lauren Housley: it showcases her voice in full flight; a sensational weapon that cannot be beaten- few modern vocalists have such a range and passion- it is a tremendous thing. Backed by solid production- which sounds polished and fresh- the song comes fully to life; each instrument and note is clear and concise; allowed full room to breathe- nothing seems overly polished or false. The composition is packed with passion and soul; heart and bite- it is a myriad of colours and shades. At the very core is Housley’s vision: her story is one that grips the imagination; her voice seduces and overpowers- the entire ensemble is sensation- and a perfect introduction to Sweet Surrender.
Having listened to Ghost Town Blues, I was blown away by the talent on display: it is a song that begs repeated spins; Housley’s natural ability is laced in every note and expression. Speaking with her, you get a sense that this (music) means the world to her: few artists have such passion and determination. It is not just the music (where this passion comes through) but in the way she speaks/interacts. Having grown up in a musical household- where her formative years were awash with terrific artists and sounds- this has translated into a wonderful beginning: it is only a matter of time before the young heroine is gracing festival stages. I would love to see Housley in the flesh- if she ever performs in London I will be front-centre- as I adore her music: Sweet Surrender is a bold and nuanced statement; an artist with a brave and original voice- a sound that is impossible to ignore. With regards to Sweet Surrender– and the background/run-in- here is all you need to know:
“The album follows the promise of her ‘Rather Be There’ single and the earlier ‘One Step Closer’ EP. To name just two highlights from ‘Sweet Surrender,’ the slow-burning intensity of the ballad ‘Show Me What Love Is’ turns heads every time she sings it, while the upcoming single ‘Ghost Town Blues’ moves stylishly among its soul influences from Massive Attack to Motown. And they’re just a taste. ‘Sweet Surrender’ was recorded in various sessions in Ireland, and in Wallasey, on Merseyside, overseen by producer Mark Lewis. Contributors include some of the best up-and-coming young musicians Britain has to offer, such as multi-instrumentalist and producer Steve Parry, whose extensive credits include being musical arranger on ‘The Voice.’ The versatile singer has also formed a country band, the Chorlton Country Club, as a fun side project, and is a member of the Manchester dubstep and drum ‘n’ bass collective, the Kaleidoscope Orchestra. Now she’s coming to a live venue near you, armed with a debut album that will turn heads and win hearts.”
After being blown away by Ghost Town Blues, Sweet Surrender promises jewels a-plenty. Opener Nice to See Ya begins with a Country-inspired kick; it is a pure Americana treat: our heroine opens her arms and hearts; offers her services and support- backed by a swinging and kick-ass composition. Constantly energised and moving, the track is a perfecting opening statement- one that is impossible to forget (and will have you singing along for ages). Away from the charm and humanity of the opener, come The Waiting Game and If You Were Mine. Completing a dazzling trio, The Waiting Game is more introverted and restrained. Romantic and investigative, there are more Jazz/Soul tinges: the vocal is softer and more alluring; the composition supportive and calm. Looking at love and heartache, our heroine is in reflective mood: realising love is hard/the road is long, she is looking at her man (finally she seems to have found ‘the one’). A tonic of sunshine, there is clear desire and relief- the composition is one of the most compelling and rich; brimming with gorgeous brass and funky guitar notes. With her voice at its most impassioned, Housley changes down a gear- to stunning effect. If You Were Mine capitalises on this: the song begins with elegant piano; the vocal is even more tender and shivering. One of the album’s highlights, our heroine is both soft and arresting: her voice is shimmering and sensual; the composition remains pure and touching- a break-away from the likes of Ghost Town Blues. Face The World Alone carries on the parable: another tender track, our heroine looks at a friend/special connection; she is saying goodbye- they will “face the world alone.” Having been connected since a young age, there is that sense of bond and pride: Housley has seen this person grow; proud of how strong they are- she is seeing them into the world. When Autumn Came– following on from Ghost Town Blues– is another tender number: Housley is at her sensual best; shivering and spine-tingling, it is a Blues-Soul blend. Backed by Country strings- wailing and echoing guitar- she looks at loneliness and waiting; it is both sad and inspiring- our heroine’s plight is both moving and affecting.
Sweet Surrender is one of the most ‘pure’ Country numbers- what one would think when looking at the genre. With aching harmonica and sun-kissed percussion, the introduction is a perfect swoon- Housley’s voice is at its most relaxed and investigative. Chasing dreams “into the dark” she looks at life and realisations: there is that need to break the silence; a desire to get away- she retreats to the river, her head to the sky. With her head held high, it is a rally against the odds; colours are fading- it is one of the most vivid and thought-provoking numbers. Hot off its heels is Show Me What Love Is: another personal song; one that looks at struggles and love. Housley sees the years “go by so fast”; there is that need for love and completion- our heroine looks out at the world. Scanning the landscape, she looks for her love/ideal: someone who will hold her and keep her comfort. Aching and desirous, the song draws you in: the vocal is both entrancing and sweet; the composition gentle and pure- the lyrics are stirring and emotive. It Ain’t About You kicks the mood back up: like Ghost Town Blues it is a high-octane rush. Beginning with a twirling and Soul-infused opening- the strings twirl and hop; the percussion is snappy and tight- Housley is back in full voice. Looking at a familial/tense sense, it is a flip-side of previous numbers- looking at desire and love- and looks at disappointment and lies. The focal point (the anti-hero) comes home reeking; showing up late to the home, Housley (cast in the role as long-suffering wife/mother perhaps) is coming up with excuses- disappointed once more. The song looks at what’s “going to be best”- it is not about either party. Her man has been out every night; flirting and playing around- that sense things are hitting the rock. Vocals switch between fast-talking and controlled; the backing vocals have elements of ‘60s Soul- the composition marries Soul and Pop; some ‘60s/’70s elements. Sounding wonderfully vintage- that is to say, the glory days of Soul and Pop- the song crackles with life and energy. The lyrics mix pathos and humour; the song changes course and projection- it is one of the most mobile and transformative cuts (on the album). Looking at compromise and reason, the song looks for settlement and middle ground- all presented in a rhapsody of insatiable vocals; a song impossible to forget. All You Need is a Friend is a perfect closer: it takes the mood down and ends the album on a reflective note. Casting her eye to a friend/subject, there is the need for salvation: someone who is rolling around aimlessly; in need of a shoulder- somebody caught up in the tide. Casting her hand out, there is a universal message: when things are at rock-bottom (and seem impossible) all you need is a friend. A positive message and stunning number, it is a beautiful swansong- ending Sweet Surrender on a triumph.
The entire album showcases what a star Housley is: packed with diversity and style; mood and magic, it is a sensational album- one that will appeal to all music fans. Switching between Americana, Blues and Soul (with some Country and Pop in there) the album never misses a heartbeat- there are no weak or ineffectual numbers to be found. At the centre is that insatiable voice: it can go from a delicious whisper to entranced rapture within a line- without losing integrity or genuine personality. Both original and classic-sounding, Housley has an incredible voice; one that gives light and power to every thought- able to knock you off your feet and steal the breath. The compositions vary between romantic (and light) and go to insatiable (and jam-packed). Employing a range of guitars, pianos and sounds, each composition is rife with emotion and nuance- you find yourself coming back to certain songs. Demonstrating a wonderful lyrical voice- her writing is both mature and intelligence; switching to humorous and oblique- Housley is a wonderful writer. Not one to be bogged in clichés and insipid tedium, each song has a very personal stamp- something that will inspire up-and-coming songwriters. When all is said and done, Sweet Surrender is a staggering debut L.P. – something that builds from early promise and puts Housley square in the spotlight. An album that begs repeated investigation, you should not be without it- make sure you snap it up; or regret missing the opportunity…
Lauren Housley is a young talent with a bright talent: one that is not only going to flourish for years; it will inspire ranks of up-and-coming singer-songwriters. One of the U.K.’s most vibrant vocalists, every song (on Sweet Surrender) gets inside your head; it rattles around the brain- and lingers long in the mind. Ghost Town Blues– one of the album’s standouts- is just the beginning: it is the perfect starting point; if you want a taste of what Lauren Housley is about- then you should start here. It is only left for me to wrap up- I’m sure you’ll be delighted- to wish Housley good luck (not that she’ll need it) and hope I get to see her play: I know she plays London in September (at the Sebright Arms on the 22nd); I hope I have enough money to get up there. I would recommend everyone check her out: whether you are a fan of Soul/Americana/Blues fusings or not, there are no limitations or restrictions- this is music with universal appeal and inclusion. Sweet Surrender is out next month; an album that nobody should be without. You may be sitting there and saying: “How can I trust it is fantastic; given there are only a few songs available online?” Well, first of all, because I said so (and have no bias and sense of subjectiveness). Most of all, the reception and feedback- fans and followers of Housley have provided- has been effusive and filled with praise. No arguments; no hesitations, investigate Lauren Housley and her craft…
YOU have no excuses.
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