Jack Gardiner, hailing from the Liverpool area, is something of a hidden gem, nestling in the realm between a multitude of genres and styles. While on the surface an extraordinarily talented jazz fusion guitarist, his masterful shredding encompasses rock, funk, blues, and far more. Past singles this year from his ‘Urushi’ EP, ‘Shibuya Meltdown’, ‘Eightfold Fence’, and ‘Mugen’, have tinkered with traditional Japanese sounds and instrumentation, all under under his laser-focused guitar playing.

But it is this final single, ‘Taxman’ that crowns his year off in beautiful fashion. Recorded with frequent collaborators Owane, a Norwegian multi-instrumentalist and producer, and Henrik Linder, best known as the virtuoso bassist of experimental Swedish group Dirty Loops, the whole composition is an eclectic treasure trove of good vibes without a vocalist in sight.

While the funky bass pops harken back to US easy listening music of the late 20^th century, and the synths wash over like a summer breeze, it is of course the electric guitar that is the centrepiece, a mix of melodies you could almost sing along to, followed by Gardiner’s lightning-fast lead work. All of the elements blend to create a groovy bite of nostalgia and warmth.

As if the track itself wasn’t enough to evoke a feeling of summer, then the accompanying music video must be. Filmed on location on the coast of Norway, it features scenic views of the three musicians out on the cliffs, with the backdrop of crystal clear Nordic waters. When contrasted with the bleak sight outside English windows currently, you can tell why they didn’t attempt to film it here. And the playful, yet bizarre editing showcases that these three artists are having as much fun creating this music as listeners will be upon hearing it.

Jack Gardiner himself is an interesting character. He currently lives in Switzerland, where as well as writing his own music, he applies his talents to instructional courses and teaching materials for other keen guitarists. Having been in the spotlight as a unique talent since the age of 15, he caught the eye of many greats of the guitar world such as Tom Quayle, Rick Graham, and the renowned innovator Steve Vai.

Now Gardiner himself is on a rise of his own, releasing a diverse set of distinctive singles across 2025, as well as featuring as the lead artist on the promotional track ‘Matterhorn’ for guitar plug-in developer Neural DSP. With so much output, we can expect everything that comes after ‘Taxman’ to be just as exciting.

Jack Gardiner’s 2025 EP ‘Urushi’ and single Taxman, are available to buy on his Bandcamp store, and are also on streaming services. His educational courses are available on his website, and he is forecast to release a full album of material in February 2026.

The ‘Brown Eyed Girl’ author is set to play some intimate shows in venues all over the UK, kicking off on March 18 at the Royal Concert Hall in Nottingham. Tickets are set to go on sale at 9am GMT on Friday 7 via TicketMaster.

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The 79-year-old Blues Rock legend will be going on tour in support of one of his 2024 album ‘New Arrangements And Duets’ which is an album made out of songs from Morrison’s archive. Morrison’s album contains duets of all sorts with names such as Joss Stone, Curtis Stigers and Kurt Elling. One name Van was the most thrilled about was Willie Nelson, 91-year-old Folk legend, with whom he shares the two songs ‘What’s Wrong With This Picture?’ and ‘Steal My Heart Away’.

In a talk with The Sun, the artist shared: “It had been on my mind to do a duet with Willie Nelson for a long, long time but I didn’t get the opportunity. It was absolutely fantastic. Very relaxing and very professional. Willie came in and delivered. I played those songs for him and he was into them. There’s not a lot of pondering with this stuff. The less back and forth the better. Willie covers all the bases and, to me, he’s very similar to Ray Charles. I like his work and I heard he liked mine.”

‘New Arrangements And Duets’ broadcasts a small percentage of the huge amount of unreleased music Morrison still has under his belt. Working alongside Paul Moran and Chris White on the songs that needed big band arrangements, leading an array of vocalists and paying tributes to places like Belfast, the Harland and Wolff shipyard as well as people like his father and the love the latter had for jazz music. The solo artist played a sold-out show at the Royal Albert Hall in late 2024 which received a four-star review from The Independent.

Set to play in his hometown of Belfast at the Whitla Hall venue at the end of the month, the singer added an extra date due to the high demand.  

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Van Morrison’s March UK tour dates are:

18/03/25 – Royal Concert Hall – Nottingham

19/03 – Symphony Hall – Birmingham

23/03 – New Theatre Oxford – Oxford

24/03 – The Subscription Rooms – Stroud

The tour will end at the Adelphi Theatre in London on September 30.

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The tour follows Eleni’s recent new EP ‘Above Deep Water’, which was released in September. Known for her lush vocals, the EP explores themes of solitude, acceptance, and loneliness, expressing both its desolation and its liberating aspects and often drawing inspiration from her Greek heritage and personal relationships. This release builds on the aesthetic in her earlier EP, ‘Surf The Sun’, currently expanding her sound to include more jazz elements, such as cello, which featured in her Camden Assembly show last night.

 

 

 

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The ’King Street’ singer’s stage presence remains reminiscent of Mazzy Star’s Hope Sandoval. Whilst a nervous performer, Eleni keeps up incredible control over her vocals. Camden Assembly’s setlist was the longest out of the tour so far, the singer revealed.

The amazing Eleni Drake at Camden Assembly tonight pic.twitter.com/FkQq8ymxVG

— Ali Krausova (@ali_krausova) November 20, 2024

Born in Johannesburg, South Africa, to Greek parents, she moved to the UK as a teenager and later settled in Melbourne, Australia.  Eleni plays multiple instruments, including guitar, piano, bass, and flute, and is known for her unconventional “upside-down” guitar technique.

“‘I don’t find it hard playing upside down! When I was younger the only guitars available to me where right-handed, so I just flipped the chords and taught myself that way. I feel like there are pros and cons. I can hit notes that maybe I wouldn’t be able to if I played a left-handed, but equally sometimes I’m like, – f*ck should’ve just committed to left-handed. So now I have a left-handed too, but I much prefer my right-handed guitars.” Eleni told me in 2021.

Her music has gained a global following, particularly through platforms like YouTube, where she posts both original tracks and covers. She has released several well-received projects, including her EP ‘Vanilla Sky’ and album ‘Can’t Stop The Dawn’.

Despite her independent status, Eleni has achieved significant milestones, including selling out headline shows and gaining over 250,000 monthly listeners on streaming platforms.
You can listen to ‘Above Deep Water’ on Spotify to experience her ethereal and intimate sound.

The Wild Fields Festival was first held in 2020 and was created by the team behind the Red Rooster Festival as a way to bring live music and arts to Norwich in a smaller, more intimate setting. The festival was born out of the need to adapt to the changing circumstances of the COVID-19 pandemic, offering a safe, outdoor environment for people to enjoy live performances and cultural activities. Despite its relatively recent inception, the festival has quickly grown in popularity and has become a staple in Norfolk’s cultural calendar.

Wild Fields Festival aims to offer a relaxed and inclusive experience, catering to a wide range of musical tastes and artistic interests. The festival’s programme often includes genres like indie, folk, electronic, and more. The family-friendly environment, combined with the scenic outdoor setting, adds to its appeal as a laid-back yet culturally rich festival experience.

Headlining this year was the Ezra Collective. The group is a London-based jazz quintet that has become one of the leading acts in the UK’s contemporary jazz scene. The group is known for its dynamic fusion of jazz with various genres, including Afrobeat, hip-hop, grime, and reggae, creating a vibrant and energetic sound.

The collective is made up of Femi Koleoso on drums, TJ Koleoso on bass, Joe-Armon Jones on keys, James Mollison on saxophone and Ife Ogunjobi on trumpet

In 2023, the group were named as the winners of the Mercury Prize, with FREENOW winning album of the year. The group performed the song Victory Dance after collecting the award which was met with a standing ovation.

Ezra Collective performed alongside other notable artists such as Sampha The Great, SBTRKT, and Kae Tempest, to name just a few.

As stated in Norwich News, festival director Ben Street said:

Wild Fields will be a truly unique event with a varied and progressive musical line-up paired with climate discussions, industry panels and immersive performance.

The festival is very climate-oriented, partnering up with Climate UK to welcome a large, solar-powered pink bus as one of the stages.

Climate Live Bus

The bus is open-topped and solar powered, featuring live music on the top. Next to it there is a campaign stall where the team speak with festival goers about Climate Live and key youth-led UK climate campaigns

The new single off the album ‘God Made Me Feet For Dancing’ sees the London Jazz collective collaborate with acclaimed London singer Yazmin Lacey. The release of the latest single from the upcoming album was accompanied by a music video which was directed by Tajana Tokyo, who has also directed videos for Beyonce and Janelle Monae, and it really captures the joy and positive energy and unity around dancing on a night out. watch the music video below.

The single matches the title of their forthcoming album ‘Dance, No One’s Watching’ which was written throughout 2023 as the band was touring the world, and it documents the dance floors they saw globally. The second single off the album ‘God Gave Me Feet For Dancing’ highlights the the joy of these dancefloors and calls on listeners to embrace dancing.

Speaking on the release of the new single drummer and bandleader Femi Koleoso commented on the Church’s influence on the band’s view of dancing saying that “Myself, Ife, and TJ all grew up in church, and it played a massive role in how we view the purpose of dancing. Dancing is bigger than just the club space. Dancing is a community thing, dancing is a spiritual thing, and ‘God Gave Me Feet For Dancing’ is like a window into that element of Ezra Collective for the five of us. There’s a story in the Bible that talks about ‘David dancing before the Lord’, and that’s always been something that has inspired me. So, ‘God Gave Me Feet For Dancing’ is meant to look at dancing in a more spiritual capacity, like it’s our God-given ability to shake away the badness of life and dance instead.”

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The London bands last album ‘Where I’m Meant to Be’ was released to an amazing reception, winning them the 2023 Mercury prize award, making them the first jazz act to win the award in its 31 year history, with the band giving a breath-taking performance of ‘Victory Dance’ and drummer Femi Koleoso giving a magnificent winning speech, really putting the jazz band on the map. This then saw the band sell out huge shows performing at the likes of the Hammersmith Apollo and the Royal Albert Hall.

The first taste of Ezra Collective’s upcoming album, ‘Ajala’, which sees some afrobeat instrumentation, was released in April and is titled after Nigerian Journalist, Olabisi Ajala. Talking about the title Femi Koleoso said that “‘Ajala travel’ is slang for someone that can’t sit still. It’s the way a lot of people would describe me, but for me it’s also what a great drum beat does, it’s what great music does to me, it means I can’t sit still and I just want to move. Ajala is all about that movement.’

The widely acclaimed singer has been described as a vital guide for today’s music, and was known for his unique sound that combined jazz and folk, with huge artists such as Eric Clapton, Portishead and U2 citing him as a influence in their own music. Over his four decade career, Martyn released a whopping twenty three albums, his most well known being ‘Solid Air’, and received an OBE award in 2009, only a few weeks before his passing. He is now survived by his second wife, Theresa Walsh, and his three children.

Alongside selling Martyn’s instruments and equipment that he used for recording and performing, the auction will also include personal items, such as pieces of clothing worn by Martyn.

Original members Steve Scipio (bass) and Patrick Patterson (guitar) had previously jammed together in the jazz fusion group Metre. The love affair with music began when Scipio had followed his family as a young boy from Guyana to Balham in South London in 1963, soon befriending Patterson who at the time was developing a real passion for rock music. Scipio, however, was a jazz lover, and took up bass. Before they knew it, they were enlisting other members to join them on their quest to tackle the British jazz circuit.

After a series of gigs at universities and working man’s clubs in the north, the dream had seemingly been snuffed out after drummer Phil Gibbs upped sticks and moved to Australia, pushing the duo to find a more permanent home – this time, at the prestigious Ronnie Scott’s in Soho. The pair were discovered by British R&B singer John Schroeder after he had stumbled upon them upstairs during rehearsals. Schroeder decided to take them under his wing, recording some of their demos and convincing Janus Records to sign them.

Cymande’s name derives from the calypso word for ‘dove’, which also shares the same name and lies in duality with one of their more known tracks, which followed their first single ‘The Message’. Once released into the ether, the group quickly began to make a name for themselves across the pond, with the song charting in the Billboard Hot 100 and Hot R&B charts in the United States – a quasi-jazz-funk groove with hints of reggae that captured their essence perfectly. This quickly extended into invitations to tour with iconic American acts such as Al Green, funk-rock band Mandrill and jazz musician Ramsey Lewis.

Despite all of the buzz surrounding them, disagreements on style began to creep to the surface. Original lead singer Ray King’s departure pushed him to guide other artists on their journeys to success, including the formation of The Specials, and inevitably led him to be replaced by Joey Dee.

With a mixed Afro-Caribbean heritage, there was a real sense of community, with sometimes up to eight or nine members of the group interchangeably. Boasting a rich cultural identity and symbiotic relationship, the group were able to explore their sound a little deeper. ‘Brothers On The Slide’ was then born, and the group began to take over. Unbeknownst to them, Cymande had become the soundtrack to summer outings in the park, sticky basement jams and nightclubs throughout New York. By the turn of the 90s, their sound had grown particularly popular during the dawn of the hip-hop and house scene and had spread across numerous genres, with musicians like the Fugees and Wu-Tang Clan scrambling to sample them. Flattered by the recognition from different artists, the group have been promoting a specially curated Spotify playlist that includes all of the songs that have sampled their music.

Fast-forward to 2024, Cymande have embraced the digital age with open arms, taking to Instagram to announce their 2024 European and Australian tour, as well as a performance at O2 Shepherd’s Bush in London on April 20. The group said: “Our April show at @abconcerts in Brussels is now SOLD OUT. Thank you all very much. It’s been thrilling to see the excitement from all of you around this tour. Tickets are moving very quickly for Amsterdam and London so don’t miss out!”

The first page in a remarkable new chapter, the band have also unveiled the upcoming release of their own documentary Getting It Back: The Story of Cymande which was first launched at film festivals in 2022. Directed by Tim Mackenzie-Smith, the documentary is said to tell the ultimate musical survival story, transporting you from 70s Brixton to 90s New York to a present revival decades later.

Showcasing their legacy, influence and cult following throughout the ages, it will also feature interviews with Mark Ronson, Laura Lee and Mark Speer (Khruangbin), DJ Maseo (De La Soul), Jazzie B (Soul II Soul), Cut Chemist, Jim James (My Morning Jacket), Louie Vega and Kool DJ Red Alert.

Getting It Back will touch down in UK and Irish cinemas on February 16 2024, with tickets available to pre-book now. The film will be screened in select theatres, including BFI (Southbank), Bertha DocHouse, Ritzy, Ealing Picturehouse, Picturehouse FACT, Hackney Picturehouse, Picturehouse Central, West Norwood Picturehouse, and many more to come.

Sharing their excitement surrounding the film’s premiere, the band commented: “We are thrilled to announce that Getting It Back: The Story Of Cymande will premiere at @britishfilminstitute Southbank in London on February 13th! That event will feature a Q&A and an after party as well...Come celebrate with us!”

An inspiration to musicians around the globe, Cymande’s discography has clearly stood the test of time, and with bands like Ezra Collective being crowned Mercury Prize winners, it appears there is a welcomed return of jazz and funk to the UK soundscape. Voiced in a statement posted on their official website, the band are said to be “currently working on new music to be released later in 2024.” You can listen to and browse through Cymande’s musical history here.

Shot by director Paul Gore, the fresh-faced 20-year-old Winehouse can be seen wandering the halls of a swanky, dimly lit hotel carrying a guitar case, which leads her to eventually join a band of musicians in a grand ballroom. The singer-songwriter is followed in a voyeuristic fashion throughout the hotel, with the lens peering at her through bannisters and capturing her laughing, posing and causing mischief in one of the bedrooms.

However, her famous beehive hairdo is nowhere to be seen as the clips predate her ‘Back to Black’ era. Instead, it captures her in the early days of her 2003 debut album ‘Frank’ for which she received an Ivor Novello award for achievements in songwriting. The album was re-released as a deluxe edition in 2008, and was reissued on vinyl in 2015 following the release of the documentary film about her life the same year, simply titled ‘Amy’.

A new biopic about Winehouse is also set to hit cinemas this April. Directed by Sam Taylor-Johnson, the film ‘Back to Black’ will focus on her rambunctious relationship with ex-husband Blake Fielder-Civil, and how it inspired her to write such a groundbreaking album. The first trailer hit the internet earlier this month to a heavy amount of criticism, with many fans left concerned that the portrayal on screen will not honour her in the way that she deserves.

There is a sense that Winehouse is being presented as a larger-than-life caricature, rather than the vulnerable, complex human being that she was. Others believe that her story should be laid to rest, and that any hardship and pain she suffered should no longer be profited from. Despite the controversy surrounding its release, the Winehouse camp are openly supporting it in its promotion, sharing the trailer across multiple social media channels.

More than a decade on since Winehouse’s tragic death, her presence and significance within music and pop culture is still as prevalent as ever. Last year marked the singer’s 40th birthday, with legendary producer and close friend of Amy, Mark Ronson, paying tribute to her in an Instagram post which featured clips of them working alongside each other in the studio. Her North London stomping ground, Camden, was also the centre of a series of one-off shows celebrating her life, including her original band performing a tribute gig at iconic music venue KOKO last month.

From their debut album Wild Life in 1971 to Back to the Egg in 1979, Laine’s musical prowess was evident. Notably, their album Band on the Run in 1973 reached the top of the charts on both sides of the Atlantic, featuring hit singles like “Jet” and the title track.

This album is often regarded as the pinnacle of Wings’ success. However, prior to his collaboration with McCartney, Laine had already established himself through a diverse range of musical experiences. In 1964, he joined forces with Mike Pinder and Ray Thomas to form the Moody Blues. Initially, they focused on covering blues songs before transitioning towards a more pop-oriented direction. Their rendition of “Go Now,” with Laine on lead vocals and guitar, topped the UK chart in 1964.

Laine embarked on some psychedelic experiments with his group, Denny Laine & the Electric String Band. Their utilisation of an amplified cello and violin quartet foreshadowed the approach later adopted by fellow Brummie Roy Wood and Electric Light Orchestra. In 1969, he joined Balls, alongside Trevor Burton, the former guitarist of the Move.

Laine, originally named Brian Hines, was born in the Channel Islands to Herbert Hines and Eva (nee Bassett). However, he spent his formative years in Tyseley, Birmingham, and attended Yardley grammar school. It was during his time there that he developed a passion for playing the guitar, with one of his main influences being the renowned jazz guitarist Django Reinhardt. At the young age of 12, Laine performed solo for the first time, and later went on to form his inaugural band, Denny Laine and the Diplomats, alongside drummer Bev Bevan, who would later become a member of Electric Light Orchestra.

It wasn’t until 1971 that Laine finally found a position alongside McCartney. The two had been acquainted since the early days when the Moody Blues toured with the Beatles. McCartney had also witnessed Laine’s talent firsthand when he opened for Jimi Hendrix at the Saville theatre in London. Laine said “Because he was impressed with seeing me trying to do something different onstage with my Electric String Band, and because we became friends, that inspired him to call me because he wanted to do something new and different.”

Red Rose Speedway (1973) brought more success, securing the fifth spot in the UK. However, it was their third album, Band on the Run, that truly skyrocketed to success, claiming the number one position. Despite facing challenges such as recording in basic conditions in Lagos, Nigeria, and the departure of drummer Seiwell and guitarist Henry McCulloch prior to recording, the album was skillfully crafted amidst a whirlwind of creative chaos. Laine recalled “It was basically just me and Paul doing the backing tracks, and it was more of a relaxed approach to doing an album than if you’re going in with a band and there are all these parts. We were thrown into that as a last resort because two of the guys didn’t come to Lagos.”

Between 1997 and 2002, he embarked on a tour alongside World Classic Rockers, a renowned ensemble of rock legends led by Nick St Nicholas from Steppenwolf. Additionally, he undertook tours with his own bands, with renditions of songs by Wings and the Moody Blues. As a testament to his remarkable contributions, he was honored with induction into the Rock and Roll Hall of Fame in 2018, recognised as a member of the Moody Blues.