Gentlemen Duke

On arriving at The Enterprise there is little to set it apart from the multitude of other bars and pubs around Camden market. Once inside little changes, the DJ was good and the drinks not too expensive considering the area, a nice place to have a drink on a Saturday night but nothing amazing. There is also the problem of finding the room where gigs are held which is up a tiny little staircase hidden away in a corner.

The room itself is the epitome of the small Camden gig venue, essentially the function room of a pub that has a stage in the corner and covered over windows. These rooms are where you can find some of the best up and coming bands in London but the bohemian style generally comes at a price to sound quality, The Enterprise is no exception. Whilst not a major problem with the fast paced singalong Country Folk of Gentlemen Duke the highly developed and sophisticated sound of Audiogold did suffer.

I turned up late to the gig and so managed to entirely miss the first act of the night and wasn’t in the greatest mood when the second took to the stage. Fortunately when they finished around a half hour later that had completely changed. Gentlemen Duke, a self described country folk group from Kent, offer an alternative to the rock and slower paced folk that is dominating much of the London gig scene at the moment. Fast paced, pounding bass lines and incredible energy characterise the kind of sound that I wish I heard more. Embracing both the electric fiddle and double bass over the standard guitar you can’t help but want to jump up and down. The obvious comparisons of Mumford and Sons, Johnny Flynn and so on come to mind but these guys are far from just jumping on the nu-folk bandwagon.

Instead they are probably best described as a mixture of the folksy influences of Noah and the Whale and the raw energy and speed of Flogging Molly. Throughout the set they were joking around between themselves and the crowd keeping the packed room engaged despite its unusual makeup of everyone from metal fans to the hipsters who are found almost everywhere in Camden.

With the rarely seen electric violin solo’s getting everyone jumping to the point that the floor was bouncing an alarming amount you won’t find many bands around who put more into their act than these guys. Though most of their songs are fast they are far from a one tricky pony with interesting and engaging lyrics combining with Sam Cockertons’ almost insatiable energy on the violin. At no other point in the night was the room anywhere near as full and the guys also spent some time in the bar downstairs chatting with anyone who was interested which can only help build up their fanbase.

- With good fortune there is a video of one of the tracks at the gig Andy reviewed.

In-between Gentlemen Duke and Audiogold was Dirty Pendejo though I must admit I managed to miss almost their entire set though I did manage to get hold of their latest CD release. Entitled The Pendemo it is an interesting example of a style the band themselves call  Dirty Funk Rock and may well appeal more to the heavier rock or metal minded listener though that is not to say they should be pigeonholed purely into this category.

Audiogold

Audiogold were the headliners for the night but such was the disorganisation at the venue that by the time they had come on many of the crowd had left and I even had to duck out before they had finished the last song so I could actually get home!

Those that did leave before the band had started missed out majorly, the skill level and writing prowess on display is something you virtually never see in these small venues. Though the set got off to a bit of a slow start for my liking it soon kicked up a few gears and those that had remained stayed rooted to the spot. Some sound problems caused minor delays and affected a few songs but far from ruined the performance. You don’t often get guys like this at small venues such as The Enterprise.

Though very well written and performed the lyrics were for me blown out of the water by the music itself. With a great mixture of lighter slower songs that would sound right at home on the radio through to heavier layered tracks and even a very good cover of Another Brick in the Wall by Pink Floyd – Audiogold offer something for anyone who likes guitar based bands. The initial slower style reminded me of Elbow and the big sound is reminiscent of a small scale Arcade Fire though there are undoubtedly some folk influences in some of the songs.

Probably best described as Folk/Alt rock they are one of the best small bands you will get the chance to see with Jonny Wanders being probably the best guitarist I have seen since I started reviewing for the site a couple of years ago. And they even refunded my entrance money after the venue messed up!

- This video is from a performance by the band at New Cross Inn back in July 2011.

I’d recommend Gentlemen Duke to anyone who likes a bit of folksy rock or even just a fun gig; if they are near me again I’d definitely head down. They should do well as long as they don’t get lost in the swarm of Mumford wannabe’s who seem to be appearing at the moment. Audiogold are something a little different, I tend to go back and see the bands I review again anyway but this time I will definitely do it, very enjoyable this time around and apparently the sound at The Enterprise was rubbish so I can’t wait to hear them when it’s good!

- Audiogold have been firm favourites with the readers of the indie bands blog for some time, taking the number one spot on the New Year Ninety Chart.

Thanks for the review Andy and I would like to wish you all the best for your finals this year and here is hoping we can get a few more gigs sorted before you finish.

With good fortune I hope Andy will be able to contribute to the website after completing university. If you would be interested in writing reviews for the Indie Bands Blog, irrespective of you location in the world, please drop me a note.

A new photographer to the site, Toby Cameron who is contactable @ toby_cameron_ @ hotmail.com

The See See by Toby Cameron

‘Half a man and a horses head’ stuck out for me during the gig as a particularly different style from the majority of the set. It contrasted well with the more heavily guitar and drum driven tracks providing a more vocally focused song. The style reminded me of The Zutons to some extent but also includes the band psychedelic influences and even some 60’s surf rock styling.

Mary Soul is a perfect example of their layered musical style with both guitars performing individually without interfering with each other. The ability to hear the vocals clearly over the numerous instruments is a mark of the bands ability to balance the need to hear songs clearly with the greater energy required for live gigs.

The set was a good mixture of songs with heavy bass and drum beats and layered vocals as well as some towering guitar solo’s. The whole sound in fact is one which has undertones of surf and festival rock of the 60’s and 70’s combining the bands psychedelic edge to create a fusion of rock with lyrics catchy enough to catch indie pop market too.

Overall the gig was good, maybe not the right crowd for the band but that was as much down to the venue who advertised only the headliners as playing as anything else. Even though it was more of a crowd standing and listening than screaming out the band’s name it seemed to fit their developed and intelligent style of music. They are a band well worth seeing live if the opportunity arises and thoroughly deserve to be playing the larger venues which they hopefully soon.

It was a shame to see the gig finish with what was frankly a poor performance by The Ruby Suns, a band who sound far better when listening to their recorded music rather than live where they seemed a little haphazard and drowned each other out.

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Whiteclouds and Gunfire

After considerable dithering on my part, I finally decided I would make the short trip up the A1 to see the return gig of White Clouds and Gunfire, who I last reviewed just over 2 years ago and I’m glad I did. Thanks to Rob for sorting out the entry for me, just as they were about to go on for sound-check. The all important parking, easy and nearby, other than the back roads were unusually busy and it transpired there had a plane accident further up near the A1 which had resulted in the traffic taking detours.

Never having been to The Met Lounge, what struck me while watching the support acts, was how low the ceiling was above the stage. Not the easiest venue for tall acts who want to move vertically, that aside, a decent stage area, mosh-pit and viewing. With the low ceiling the sound is prone to distortion, which can often work well for live performance.

Enough of that… White Clouds and Gunfire. Just after 22:37 with a rock and roll tribute like boxers entering the ring – on came the band, with a slight change to line-up Ben has been replaced by Jake Matthews on Guitar. A confident Spread Your Dreams opened the set, with no sign of nerves they performed with the ease of seasoned players, as Eveline remarked at the end of the track , it’s been two and a half years since we did that.

There was a strong core of fans and if you didn’t know would have thought the band were a regular fixture of the Peterborough scene, not a provincial band who have been off the scene for a while. Their relative inexperience was only evident during breaks between songs, which despite some banter from the band members, good to see them interacting, did on occasion drag, but that is a minor point. Following on with Sail Home, the band grew in confidence on the stage. The effervescent Eveline appearing all over the stage (and off it) with scorching vocal, while keeping track of the path of Rob and Jake on bass and lead was like watching a game of tennis as they switch from side to side throughout an energetic set.

Promises and Poison were the next two songs on the set list. White Clouds and Gunfire play a fairly complicated construct, which requires strong interaction between the guitars and Lewis on drum, as pace changes, tracks suddenly stop mid-flow before restarting to a different tempo and they handled them all with ease, as importantly it wasn’t necessary for them all to huddle watching each other to get the changes right, a testament to plenty of time in the rehearsal studio, which was replicated live. I loved the few bars of exposé a bass solo was given, but then as a fan of Bass guitar, why wouldn’t I.

A call for audience participation for Let Go, seemed to find the band a little nervous, but volunteers stepped up to the stage and the audience got involved.

Following on the set took on a surreal air, as we were treated to a Rocked up Lionel Richie Cover – All Night Long. Whilst in theory this should have been a disaster, it was a fun and well received interlude.

With a flourish White Clouds and Gunfire brought their set to a close with what I think is perhaps the real meat and potatoes of the band – Satellite.

White Clouds and Gunfire Satellite

With that at just turned 23:10 the return gig was completed. They did a great job, produced an entertaining and engaging half an hour of powerful guitar, drum and intoxicating vocal. The next gig, will I’m sure be even stronger and more spontaneous. To keep abreast of news of the band join their facebook page.

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Rev78

Rev78’s album launch was the first gig I’ve been to at Proud, the restaurant come club come gig venue (plus anything else they can seem to fit in the space!). Based in the old Horse hospital market the club retains much of the old charm of the place, the old horse stalls have become private booths and many other original features remain though fans of the old market may find themselves immediately biased against Proud. The high ceilings and slanted roof offer unusual acoustics, there’s plenty of places to escape the music if it’s not your taste and but for the expensive drinks Proud makes a good all round venue. Rev78 started off in my good books, for once a band that actually came on stage near to the time they said they would! Right from the start it was clear they weren’t just another Camden indie band and throughout the set I wasn’t disappointed,

Though I enjoyed most of the set my favourite song of the night was probably Harrier. The song represented a major change from most of the rest of the set, simple guitar and drum beats dominating with none of the soaring vocal changes. Performed more enthusiastically live than on the album Harrier is a great song but possibly not for rev78 as their strength is not in the simple beats of 90s rock. Instead they are better off concentrating on their strengths, the lyrical prowess of front man Teddy Quick and the rest of the bands great co-ordination not noticeably missing a beat which is rare in live shows and reminiscent of new wave of the 70s and early 80s. I found myself drawing links with Editors after hearing the intro to Could have been a dancer, simple but enthrallingly relaxing guitar resulting in an excellent song and for me the perfect example of rev78’s sound. Breaking up the tempo was one area where I was actually a little disappointed. Though the first few songs were nicely varied rev78 then went on a run of several songs which were hard to tell apart for someone new to the band. This remains a minor criticism however as none of the songs were poor merely the sound remained a little repetitive.

Us against them all offered a chance to hear the bands full repertoire from the full range of guitar to the powerful lyrics which are the trademark of rev78’s sound somehow without ever losing the simplicity that is the beauty of their music.

Interestingly there are noticeable differences between listening to the album performed live and hearing it in its recorded form. Though this is not altogether unusual the fact that neither overshadows the other is as most bands are considerably stronger at one rather than the other. Throughout the set echoes were prominent in many songs, whether deliberate or a consequence of the venues unusual acoustics they added an extra dimension to several songs though they were overused considerably on others. There was also a stronger emphasis on guitar and lyrics live, at points the bass was almost inaudible, which didn’t have the negative effect on the rhythm that I was expecting but did serve to leave some songs lacking a harder edge that would benefit them. This edge is evident in the recorded album, possibly just one of the mysteries of live performances where not everything can always go right on the night.

So rev78, just another one of dozens of bands playing a midweek gig in a small Camden venue?

Definitely not, an energetic, dedicated and genuinely nice group of guy’s rev78 offer something a little different from the hordes of other bands around Camden. They might not be ready to hit the big time yet but given another year or so of experience and they could find a niche with their sound.

Promoting boy in the blitz, the album that this gig was launching, rev78 are playing a series of gigs in the coming months and are worth seeing if you can.

Thanks to Km for sorting out the tickets and good luck to Andy with his exams.

For more on Rev78 and a full review of Boy in the Blitz

Gaoler's Daughter

This was certainly a gig of two halves, the first half of which was extremely disappointing. The band started off with a few new songs which they were clearly quite nervous about and this led to a wave of awkwardness around the room. This was typified by a large, empty semi-circle in front of the band where it seemed no-one wanted to stand.

Their front-man, John Sterry, carried the band with his charismatic presence but the remaining band members were glued-to-the-spot. Fair play to the guys as they stuck it out and as they changed instruments and moved on to songs they were more familiar with the gig improved. This prompted onlookers to start moving and get more involved.

The Relentless Garage is an ideal place for small bands like Gaoler’s Daughter to showcase themselves to a few hundred people, but drink prices were slightly extortionate, as a result the night was very dry.

I would strongly disagree with their self proclamation of being a “band that defies categorization …a genre-bending sound, free from boundaries, that is unlike anything you’ll have heard before”. They sound good, but as is always expected they are, obviously, an amalgamation of different influences which include, in my opinion; the Strokes, the Drums and you can almost hear a stolen lyrical tempo and chord sequence in the Sun Coming Up from the Libertines single Time for Heroes.

The pick of the bunch definitely had to be the tantalizingly indie song Angry Eyes which requires a Mandolin and has an interesting and upbeat rhythm with a hint of reggae, coupled with some Latino inspired riffs mid-way through. This particular performance was no awe inspiring but they are good for what they are; an up and coming band of likely lads.

Thanks for the review John and thanks to Ben from Gaoler’s Daughter for organising the ticket.

The New Cross Inn is not the ideal gig venue. It is slightly too small, especially for a band with as big a sound as The Pins.

The Pins

Due to a delayed start numbers had dwindled by the time they had set up, which did not deter them. As the seemingly familiar intro to Promises trickled out from the stage a buzz of excitement could be felt emanating through the room.

The band displayed extremely high levels of enthusiasm, confidence, ability and cohesion. These guys mean serious business, their seemingly unforced performance gave the impression that they spend every waking moment writing, rehearsing and recording.

As a spectacle they are worth seeing. Their front-man, Aaron Page, always found something to do, whether it be singing or throwing himself across the stage in a mad bid to stay mobile and this added to the lively, energetic atmosphere that they were creating.

After opening with Promises the set, shorter than originally planned, contained tracks like the intelligently crafted Leningrad, the inspiringly fresh sound of Shelf Life and flawlessly executed guitar solos in songs like The Silence led to spontaneous boogieing from even the ‘grooviest’ spectators.

There is no doubt that The Pins are a band worth seeing, if you have a chance, but the venue itself would seem to be far more comfortable hosting open mic nights than a large, lively, loud band.

What was refreshing about this gig was that they were clearly enjoying themselves, they put their hearts and souls into their performance, and that’s the end of that chapter.

For more on The Pins

Keep your eye out for more guest articles of live music by John Garner in the near future and stay in touch with the best indie music from around the world by subscribing to our free news letter.

Islington Boys Club photo Tim Bowditch

Unquestionably one of these up and coming bands is Islington Boys’ Club. They make quite a first impression and their look is anything but mainstream and helps to set them apart from the crowd. But this help isn’t required once they are into their set as the music does more than enough to show they aren’t just another band who will be forever fated as the next big thing, lost in a world of small venues and indie EPs.

I couldn’t help but draw comparisons to grunge rock initially but the songs are too complex to be pigeonholed into a single genre. In fact the band actively seem to be staying clear of falling into a single genre which led to a set which whilst often heavy and textural still maintains a sense of sensitivity.

Characterised by an extremely energetic performance from the lead singer who barely stopped moving the set showed that Islington Boys’ Club possess a stage presence often sorely lacking from other bands that hark back to heavier influences. Heavier rock bands often forgo either vocals or easily distinguishable tunes in favour of volume. Not so Islington Boys’ Club, in fact despite the powerful drumming and pulsing guitars the vocals were rarely overpowered. The band may not be the most talkative between songs but then that suited their mournful style and their energy during the performance easily cancelled out any shortcomings on crowd interaction. The only real negatives of the set were not actually of the bands doing; feedback from the amps caused some problems towards the end and unfortunately affected the flow of the set.

However all in all Islington Boys’ Club overcame these potential stumbling blocks and with plenty to spare.

See the full band review for more on Islington Boys Club

Vetoes

As for Vetoes -

Vetoes were a different prospect from Islington Boys’ Club, pushing less boundaries and sticking closer to mainstream indie rock/pop. That isn’t an insult however.

Bringing a fast, energetic and fresh edge to the frankly overfilled stable of indie pop rock from the start to the last song their obvious potential rings through. They also bring an edge that you don’t normally get with indie pop rock with hints of folk and some heavier alt rock peeking through. The switches from slow intros to fast paced songs were almost flawless and even an instrumental did not upset the flow of the set. The nice variety between slower bass driven songs and fast paced almost bouncy ones kept the crowd constantly cheering and shouting for more. One of the bands biggest strengths is their lyrics, very well written and unlike many bands you can actually understand what’s being sung rather than the just jumbled noise you often get.

The great interaction with the crowd during the breaks in the set to introduce their new material is a clear indicator of a band who is confident in their music and their performance, though a free copy of the new EP did their popularity with the crowd no harm! So maybe not the most radical or genre straddling of bands, but then again why waste time being radical when you’re as good at what you do as Vetoes are.

So – ones for the future?

Definitely – Vetoes should easily be able to find a place in the indie rock world and maybe beyond with their catchy tunes and lively performances. There’s many bands even in the charts who can’t match their energy and nothing builds up a bands fan base faster than the audience having fun which their performances definitely provide.

And then there’s Islington Boys’ Club. I’d be shocked if they aren’t far more wide known by the end of 2011 even if their music might not be to everyone’s taste. They have the potential to go a long way in 2011 if they can keep up the standard they are at let alone if they improve. Well worth seeing if you’re just a fan of music, the kind of band who you can shout out their lyrics right by the stage or stand at the back of the room and just enjoy. If they play near you see them, much better than you’ll normally find for the same money and soon they’ll be playing bigger venues for a lot more.

Thanks for the Review Andy. For more news about the best indie bands from around the world, join our facebook page.

Mono Stereo

Recently I got the chance to go to Hoxton Bar and Grill for an Icelandic music night to see Mono Stereo, who are ironically Swedish not Icelandic. As I arrived for the gig I was surprised by the number of people already in the gig room. A packed room is normally a novelty for a support act at the Bar and Grill which retained its always unusual crowd makeup, maybe partly down to the Icelandic headliners for the night, Hjaltalín. Though not a band that got the crowd jumping up and down Mono Stereos sound clearly struck a chord as few left the ridiculously hot room during the set and the band received loud applause throughout.

The set flowed well with little delay between songs and had a few nice surprises. The switch to the drummer taking over as lead vocalist for sections of several songs added a new breadth to the sound whilst not losing the strong beat which anchored the more psychedelic elements of the set. I particularly liked the use of dual vocalists at several points as well as the bands strong use of their brilliant drummer.

The band’s latest single, Me and My Machine, was a particular highlight of the set. The song is exemplifies the bands technique of coupling psychedelic rock to a harder early 90s sound. The melodical lyrics of the song add another dimension to the overall sound and are cleverly limited to make the most use of the powerful drumming and guitars.

I couldn’t help but be reminded of My Bloody Valentine and Black Rebel Motorcycle Club or a more controlled version of the Brian Jonestown Massacre. The psychedelic element of the sound and its experimental overtones are kept nicely in check by the harder element meaning that during the set I found myself drifting on the trippy guitar riffs whilst the dynamic drumming kept me grounded. The end of the set was great as the guitarists went into soaring solos with heavy use of feedback from their amps to finish in a haze of pyschedelia that seemed appropriate.

Their sound is reminiscent of 60s rock mixed with early 90s shoegazing and pyschedelia. Their swirling guitars create a towering sound brilliantly complimented by the powerful drumming. It’s not a sound you hear often from new bands and helps to fill the gap between indie and heavy rock that seems so prevalent in the current new music market.

Mono Stereo – Me and My Machine from Adam Bruneau on Vimeo.

Maybe not a band for the mainstream music market but that’s a good thing. Their soaring psychedelic guitars, excellent drumming and songs dominated by music and not lyrics should be highly appreciated by real fans of rock and pyschedelia. There seems no reason why Mono Stereo can’t go on to play many more shows to larger venues than the Bar and Grill, but I would personally recommend trying to see them at a smaller venue where you can fully appreciate the many layers of the music.

Thanks for the review Andy, if you would like to write on live acts, where ever you are in the world send me a message using the contact form.

I am wondering if Mono Stereo will ever come back to the UK, as the tours never quite pan out. This time the Manchester gig was disrputed due to a broken down van while they were travelling up from Berkshire.

For more on Mono Stereo

The Moonjets - Stand in Line

The Moonjets are a real surprise to regular gig goers, they are not just another indie-band who play their guitars too loudly and shout their way through songs about ex girlfriends. A plethora of different influences can be heard in their songs with hints of indie rock, pop and even a little folk and country in parts. The Moonjets list The Beatles and The Jam as two of their key influences and elements of both can be heard in their songs. However they also mix the 60s and 80s sounds with a decidedly modern twist reminiscent of The Kooks and The Wombats. This mixture of Pop Rock and modern Indie influences give the band a melodic sound which is really catchy whilst not abandoning its rock roots.

Despite several equipment failures and no sound check before they went on The Moonjets had the best interaction with the crowd of any band of the night (even if this was partly enforced by the problems with the equipment). Even with the problems, the guys in the band genuinely seemed to enjoy themselves on stage and didn’t make the mistake of concentrating too much, to the detriment of the performance.

Musically the mixture between acoustic and electric guitars gave songs a more layered sound with greater depth. The use of the acoustic guitar also meant there was no overpowering of the vocals which can sometimes be the problem of multiple guitars. The songs were a good mix ranging from face paced indie pop right through to some slower more melodic numbers. The Stand out song for me was Stand in Line, yes it’s a horrible cliché, and it wouldn’t sound out of place if played with some of the top indie rock songs around. The lyrics were so catchy I even found myself singing along at points.

Stand in line by moonjets

An energetic and enjoyable band to see, The Moonjets seems destined for bigger and better things. Their EP’s are available on * and they play regularly. Give them a listen, I recommend their Stand in Line EP particularly, and go down and see them if you get the chance.

myspace page

Thanks to Andy Carlin for this review of The Moonjets. Join us on facebook and keep up to date with the best indie music from around the world.

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I stumbled upon this acoustic gig at The New Globe, when I saw a poster in the window of the venue on my way home the night before the gig. The venue was the upstairs bar of the New Globe pub, a low lit and well worn room typical of smaller indie acoustic performances.

The gig started fashionably late with the first act being introduced as Bada Badoo. Having given the uninterested crowd a short statement of who he was, Bada proceeded to sing accompanied by an acoustic guitarist. The style of music was completely wrong for the bohemian like crowd, who showed little interest in the entire set of what could best be described as an out of tune male Amy Winehouse crossed with Cher. The songs all being covers were the only reason there was any interest from the crowd but his rendition of Radiohead’s Creep saw most people cringing and it was clear from the beginning there would be no more than polite applause. Bada from start to finish seemed to be trying far too hard and exemplified the X factor style of music, the show he was ironically eliminated from the previous week.

Facebook page

Before the second act the crowd grew significantly – perhaps largely boosted by semi drunk people looking for somewhere to sit down. Thankfully the second act was a complete departure from the first. Though still just one woman and a guitar, Elena Tonra was a refreshing break away from the theatrics of Bada and provided some genuine musical talent. Her mournful style and poetic lyrics soon had the increasingly large crowd’s interest and the conversation which had continued throughout the first act quickly ceased. She quickly built a rapport with the crowd having a conversation about her shoes while she had to have a guitar string replaced after her third song. Her voice is a little reminiscent of Florence Welch but with a softer and more sorrowful tone to it which could lead to her songs coming over as depressing to some. For me however Elena typified the Nu-Folk movement which is increasingly popular in the UK at the moment I wouldn’t be surprised to see her making a major breakthrough soon with the popularity of artists like Laura Marling and Mumford and Sons spearheading the movement.

Myspace page

After the end of Elena’s set there was a long break before the final and top billing act of the night, Jamie Ley. During the break the crowd again changed with Jamie seeming to bring in a pretty big group of fans with him. He began his set with a country and Western style song, a total shock to those who hadn’t heard him before as he looks like your stereotypical indie lead singer. The song combined soft and simple guitar riffs with a deep toned voice and a catchy rhythm to quickly get the crowd’s attention. Jamie had the best stage, stage being the chair he was sitting on, presence of the night quickly interacting with the crowd who were by this point virtually sitting at his feet the room was so full.  Though his second song was a little slow, the rest of the set quickly built on the first songs style, resulting in a country-folk style with some easy to pick up lyrics. It’s easy to see why he has received national radio playtime – a favourite of XFM DJ John Kennedy, and has played for albums compiled by Noah and the Whale and Mumford and Sons. Finally to finish the night Jamie got the crowd to sing along with him to The Kinks ‘Sunny Afternoon’ a great move as he got the whole room singing along, even those who didn’t know the classic song were doing their best to hum in tune.

Myspace page

Acoustic folk is a driving force in the London music scene at the moment and artists like Elena Tonra and Jamie Ley give you the chance to see a couple of top class Nu-Folk artists for next to nothing.

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