This outfit hail from Bath, where they formed, reportedly after a drunken night in the pub. An old rock tradition. They released their single ‘Diamond Eyes’ in early March and it has been attracting attention and getting heavy airplay since then, with some seeing them as the next big thing in their particular brand of indie, folksy rock.
They’ve become local heroes in Bath and the South-West, gaining notoriety for their high energy, intermittently chaotic and loud gigs, and the intense and devoted interaction with their growing fan base. Their single was released via their own label ‘Dirty 38’ and there are plans to release an album later this year, to augment their previous release of their ‘Iron Lungs’ EP. But for now this five-piece are touring extensively, taking in Newport, Manchester, Newcastle, Middlesbrough and London in the next few weeks. Their Manchester gig is on 26th April at The Whiskey Jar, and promises to be a lively night. Their song structures and delivery are reminiscent of Green Day, without the hard punky edge, but they do stray into this territory at times.
They specialise in emotive, high-tempo pub-style rock fashioned around folk themes and instruments, with many hooks and a big dose of galumphing energy. Think Stereophonics, blended with Mumford and Sons, with a dash of Bruce Springsteen, if he’d grown up drinking Cider in Bath, rather than sipping rye in New Jersey. There are shades of The Pogues in there too, without the Irish brogue and cheek.
I’ve had a listen through some of their previous performances and they consistently deliver high-energy, traditionally based songs, competently played, that appeal to a young crowd that want a good jig around and to release their pent-up frustration. You’ll hear electric guitar, bass, tight drums, accordion, fiddle, mandolin and rasping, enthusiastically delivered lyrics. They straddle the humps between American and English rock and are anthemic in their countenance.
We shall soon see what Manchester makes of them, whether they will translate to those reared on Joy Division and The Smiths, but I’ve no doubt it will be a rollicking ride of a gig, stuffed with vim and vigour and everyone should get a good old fashioned ear bashing. They should be well rehearsed and tight after their recent heavy touring, and if this sounds like your type of stuff then you could do worse than to get down their and sample their wholesome wares.
When my friend messaged me to ask if I wanted to go to the ‘Turton Consort Monteverdi: Madrigals book IV’ in St Ann’s Church, Manchester, to be honest I didn’t have a clue what it’d be like, but having been to a number of classical concerts with him now, I trust his choice in these matters. I felt sure at the very least, it’d be beautiful music and as it was in the calm surroundings of a church, it was just what I was after for that evening.
The Turton Consort is made up of five professional singers: Leonie Maxwell – Soprano, Aimee Presswood – Soprano, Joseph Judge – Countertenor/Director, Alex Banfield – Tenor and Robert Brooks – Bass.
In all honesty I can’t distinguish my countertenor from my tenor, but it didn’t matter, put together they sounded amazing. If there is a heaven, that’s what it sounds like. The soprano voices in particular were mind blowing; pure perfection to me, breaking through the audience pre-concert mumbling like a ray of light through the stained glass windows.
The music was divided into what are called madrigals (my new favourite word) which are essentially paragraphs of verse. It was all sung in Italian, but there was an English translation of each verse (madrigal). I was glad of this in this instance (I don’t feel it always matters if you don’t understand the language to appreciate the music) because the words were stunning. It was the finest of poetry. I’ve never really ‘got’ poetry, but this was gripping stuff. After the first couple of madrigals, I turned to my friend and whispered an appreciative, ‘bloody hell!’ …..perhaps not the most appropriate response in a church, but words failed me – I was in awe at the sound and the lyrics. Here is just one madrigal to whet your appetite:
Eyes, bright and clear
You set me on fire but my heart feels
Pleasure in the fire, not pain.
Sweet and dear words,
You pierce me but my breast feels
Not pain in the wound but delight.
Oh miracle of love:
A soul that is all fire and blood,
Is consumed without pain, dies without languishing.
The blurb about the evening stated, ‘Yearning for the sensual pleasures and devices of love, sorrow of separation, pain of heartbreak, unadulterated lust – raw human emotion is felt in the music of this set of madrigals.’ There was no false advertising here, the concert did what it said on the tin!
Visually the concert was stunning too. There is a cascading installation currently on display in the church which added to the serene atmosphere; connected discs of paper float down from the ceiling shimmering and changing as the light alters and streams through the stained glass windows. There was also somewhat of the theatre about the concert too. It started with singers out of sight on the balcony for the first madrigal, moving to the aisle for the second, where they stood in the round, engaging with the music and each other, looking left and right to come in together as there was no conductor.
The final madrigals were sung from the front of the church bringing a finale so natural and perfect that felt like a boat gently pulling into shore. The only element missing for me (and this is a minor criticism) was candle-light. It would’ve made the magical feel truly heavenly.
The after show party:
Yep, there was one! It isn’t only pop music folk who know how to party! After the concert we decamped to the pub and I got the privilege to sit and chat with the musicians. Again, I feel this is quite a Mancunian experience – the opportunity to get up close and personal with the group and whilst their voices are truly heavenly and I did wonder if the girls might actually be angels, they were a very down-to- earth, friendly bunch.
The chat was about how to attract more people to this type of music and the fact that the music I had just heard was mainly about sex, for example, death being a metaphor for the petit mort – an orgasm. I was left wondering if everyone gathered in the church to listen to this exquisite music realised this and whether more advertising about the true nature of the lyrics might attract a wider audience?! It didn’t feel quite right to take photos in the church – it felt too much of an interruption, so here’s one of them in the pub.
Turton Consort
I still can’t distinguish my Beethoven from my Bach, but it doesn’t matter, music is music and if it gets you that’s what counts, so next time you see a poster outside a church advertising some unpronounceable composer or other, give it a try as you could be very pleasantly surprised.
LSF recently reviewed Possession, the debut LP by London tribal rockers, Vōdūn and – suitably impressed by teaser track ‘Mawu’, and the album as a whole – we jumped at the chance to see the band live at Manchester’s Noiz All Dayer, at Rebellion on April 2nd.
This is an early start. We arrive at Rebellion at 2pm as Vōdūn are listed to play criminally early. Nevertheless, they arrive to a packed room, a sign, we hope, that the band’s growing reputation has gone before them, heralding bigger things to come.
Vibrant and energetic, Vōdūn’s performance is a sight to behold, with the band replete in trademark face and body paint, bare skin and brightly coloured gear. Their inspiration may be the religion of Voodoo, but it sure looks like tribal war!
Guitarist, The Marassa, kitted out in a bright kaftan plays as if he has channelled the spirits. His setup, so we reckon, includes both bass and guitar amplifiers – obviating the need for a bassist – and is enhanced by a legion of effects pedals.
Singer, Oya, has a belting voice. She smoothly skips over vast ranges, dealing with faster rhythms and changing tempos with no problem. All the while, she gives us stomping voodoo dance moves, her red dress swishing around her.
Vōdūn – Oya
Drummer, Ogoun, is exceptional. She generates complex rhythms with such finesse. The only complaint I have is that she didn’t set the drums on fire as she has done in previous shows. I suppose it’s a bit much for lunchtime!
The event organisers and Rebellion staff must be commended. The entire day was wonderful. The bar staff were efficient and friendly, the back room market area stocking pedals and guitars was fantastic and it was ace just to hang out in between bands. The crowd was in their element. The beer flowed, people chatted, and bands were relished from the minute the doors opened. A great atmosphere, brilliant music and all for £12! Don’t miss the next one – we certainly won’t.
‘Kickin’ In’ is the best tune I’ve heard from this foursome so far. If a song is going to get them noticed, it’s this one. It is a fast paced rock track about being down on your luck.
Funnily enough, just the other day I was having a friendly ‘butting heads’ discussion about whether bands should use footage of themselves playing in a video and used this one to win my argument. The story is simple. You get slivers of guitar, overhead views of drums, close ups of the singer amidst shots of the band’s viewpoint from the stage at a moody Deaf Institute gig. It’s all woven together very cleverly by Alex McLeod (@thepremiereguy) who has turned a film of a band rehearsing into energetic, effervescent footage that shows off the band’s understated but impelling quality. You can watch it at the top of this page.
The footage, just like the cheeky beckoning from the keyboard player, mid vid, invites you in. Seeing the band on their own turf in the rehearsal room and on stage, is captivating in a voyeuristic way. The film keeps pace with the track, working up to a frenzied rush of images towards the end.
‘Kickin’ In’ has a seriously catchy chorus, a head-burrowing hook and clever imagery. It drags you in and slaps you into a grin, and as soon as it’s finished you play it again, and again and again. Cracking tune, I can’t wait to watch them perform it live.
Gig dates:
Gullivers Manchester April 16th
Confessional 2016 Blackburn April 30th
Wardrobe, Leeds May 28th
Kendall Calling House Party Stage July 30th
Cornell is considered one of the great rock voices of the past 25 years, so he knows a vocalist when he hears one. He asked Fantastic Negrito to open for him on his solo ‘Higher Truth’ tour. Fantastic Negrito – real name Xavier Dphrepaulezz – will be accompanied by keyboardist, LJ Holoman (Dr Dre, Joss Stone, Nas, Leela James etc)
Xavier has had an amazing 18 months. In early 2015 he was still busking on the Oakland streets where he grew up (as did Seasick Steve). In a few weeks he’ll be playing the Royal Albert Hall. His rise began when he won the 2015 Tiny Desk video contest run by NPR – the American equivalent of BBC Radio – ahead of 7000 other entries, with this clip.
Since then he has played campaign rallies for Bernie Sanders; recorded with Blackalicious, and is about to appear in Fox’s acclaimed hip-hop soap opera ‘Empire’ (May 9th, UK broadcast date on E4). While drama series ‘Hand Of God’ which features his song An Honest Man as its theme tune, returns to TV this autumn.
His story is an enthralling one. He ran with Oakland gangs in his teens, but cleaned up, was signed to Prince’s management in the early 90s and had an album on Interscope as Xavier. In 1999 he suffered a car crash which resulted in a fractured skull, shattered limbs and a 3 week coma. After a slow recovery, he went through several musical alter egos – including punk band Blood Sugar X – before walking away from the industry for five years, only to regenerate as Fantastic Negrito in his late forties. He has been described as the patron saint of second chances. Now the UK enjoys its first chance to see this extraordinarily charismatic live performer.
UK & Eire Tour Dates with Chris Cornell
Sunday 24th April – BELFAST – Ulster Hall
Monday 25th April – DUBLIN – Olympia Theatre
Wednesday 27th April – MANCHESTER – Bridgewater Hall
Friday 29th April – GLASGOW – Royal Concert Hall
Saturday 30th April – BRISTOL – Colston Hall
Monday 2nd May – BIRMINGHAM – Symphony Hall
Tuesday 3rd May – LONDON – Royal Albert Hall
Tony Wilson famously once said, ‘Kids in Manchester have the best record collections’…. and with the Record Store Day this Saturday April 16th there’s the opportunity to add to these magnificent collections as across the country record shops participate in Record Store Day! There’s the opportunity to pick up some limited edition vinyl releases from the likes of Florence and the Machine, Primal Scream and David Bowie.
See this link for more details of all record shops who are joining in the collective vinyl party, including our very own Mancunian record shops: http://recordstoreday.co.uk/home/
An exciting highlight comes as songwriter and former Inspiral Carpets man, Tom Hingley, exclusively releases a brand new 7”: ‘Beggar’s Hand’, and its B-side, ‘Toy’ with his trio The Tom Hingley band. AND if that isn’t exciting enough, the Tom Hingley Band will also be playing a special in-store performance at Manchester’s Vinyl Revival at 9.30am shortly after doors open. Following that, the band will also be heading across the Mersey to treat fans to a late afternoon set at Liverpool’s 3Beat Records (beginning 5.00 PM). Proceeds from the charity single will go to Liverpool community initiative, Hope Fest, and the Manchester-based Lifeshare, both of which are concerned with supporting homeless people in both cities.
Downloading and streaming music is all very well, but nothing beats the ceremony of removing vinyl from its lovingly created artistic sleeve; feeling the vinyl between your fingers, and carefully placing the record on the deck, waiting for the needle to glide across the record. Of course, there’s also the buzz of the record shop; the chance to catch up with friends and share music which also can’t be beaten, so get thee down – hope to see you there!
Full dates and details for the Tom Hingley Band’s 2016 dates as follows:
April 16th – RSD In-Store performance – Vinyl Revival, Manchester @ 9.30 AM
April 16th – RSD In-Store performance – 3Beat Records, Liverpool @ 5 PM
April 21st – Ruby Lounge Manchester (w/ The Kar-Pets)
Tramlines has added a fifth wave of acts to its 2016 lineup. The latest additions feature a genre-busting selection of DJs including David Rodigan, Mr Scruff & MC Kwasi, Craig Charles, Crazy P Soundsystem, a full live set and DJ set by Quantic, Dego, Rita Maia, The Mouse Outfit, Last Japan and many more.
Festival organisers are thrilled to announce the return of three heavyweights for 2016 after storming successes in previous years: kicking off Tramlines as it means to go on with a melting pot of funk, disco, techno and more is seismic duo Mr Scruff & MC Kwasi, who return to the legendary Leadmill for the festival’s official opening party on Thursday 21 July; original reggae selector David ‘Ram Jam’ Rodigan returns to take the reins at the o2 Academy on Friday with a bag of bass-heavy, dancehall tunes, while on Saturday night at Foundry, the funk and soul maestro Craig Charles returns after road-blocking DQ Nightclub at Tramlines 2015!
Other standout performances this year include a full live set from dance pioneers Crazy P, whose slinky underground disco and deep electronic cuts will appear as part of burgeoning local promoters Nice Like Rice’s Queens Social Club takeover on Friday.
Beat-maker Quantic will touch down at Tramlines for a total of two killer performances, headlining the 7,000 capacity Devonshire Green stage with a live set, before hot-footing it up the road to the intimate Harley for a DJ set at the venue’s Sunday night after-party.
The Banana Hill collective will take over Queens Social Club on Saturday with a selection of dancefloor-bound world beats including 4hero’s Dego and cutting-edge Lisbon DJ Rita Maia, amongst others.
The Plug nightclub is home to all things grime on Saturday night at Tramlines, with the atmospheric vibes of Last Japan, former KissFM DJ Logan Sama and upcoming MC Capo Lee all added to the bill.
Hip-hop fans are also catered for with the nine-piece hip-hop outfit, The Mouse Outfit, ready to take the roof off at Yellow Arch on Saturday night.
Dizzee Rascal / Catfish and the Bottlemen / George Clinton and Parliament Funkadelic / Jurassic 5 / Kelis
Basement / Craig Charles / Crazy P Soundsystem / The Crookes / David Rodigan / Dawn Penn / The Enemy / Field Music / Gaz Coombes / Goldie / Floorplan / Hinds / Jane Weaver / Leon Vynehall / Little Comets / Little Simz / Moon Duo / The Mouse Outfit / Mr Scruff & MC Kwasi / My Nu Leng & Dread MC / Mystery Jets / Norman Jay MBE / Novelist / Paranoid London / Quantic / Skream / Teleman / Toddla T Takeover / Young Fathers
All We Are / Amy Becker / ArcTanGent DJs / Ardyn / Banana Hill / Beaty Heart / Blessa / Boddika / Capo Lee / Cervo / C Duncan / Clay / Coco / Cowtown / Dan Mangan / Da Rico / Dego / Denis Sulta / Ekkah / exmagician / Fleetmac Wood / FYI Chris / Gwenno / Holly Macve / Holy Esque / Jasper James / JVC /K.O.G & The Zongo Brigade / Kuenta i Tambu / Last Japan / Laura J Martin / LEVELZ / Logan Sama / Marquis Hawkes / Matrixxman / Meilyr Jones / Miles From Kinshasa / Mt Wolf / Mumdance B2B Pinch / NARCS / Nice Like Rice / Pareidolia / P Money / Pure Bathing Culture / Randall / Rita Maia / Roseau / Rukhsana Merrise / Saif Mode / Scuba / Sticky Blood / Sundara Karma / Thomas Truax / Toucans / Trash / Tom Trago / Yndi Halda / Zed Bias B2B Paleman / Zuzu
Live at Leeds can announce a special, free to all music stage and food area for the festival on Leeds’ most prominent street.
Briggate is one of the oldest streets in Leeds and will welcome Live at Leeds’ first outdoor stage in celebration of their tenth Birthday. Bands to grace the stage will include local favourites Glass Caves mixing it up with music from Fletcher Jackson, Katie Dean, Party Hardly, Where Fires Are and Colour of Spring, bringing exclusive performances from some of Leeds’ hidden soon to breakthrough musical talent.
Briggate Stage – Line-up
Glass Caves – 12 noon-12.30pm
Fletcher Jackson – 1pm-1.30pm
Katie Dean – 2pm-2.30pm
Party Hardy – 3pm-3.30pm
Where Fires Are – 4pm-4.30pm
Colour of Spring – 5pm-5.30pm
Tramlines, the UK’s biggest inner-city music festival, has added a fourth wave of acts to its 2016 line-up. Amongst the new additions is Saturday night Main Stage co-headliner George Clinton and Parliament Funkadelic, plus The Enemy, Jane Weaver, Shining, Basement, Little Comets, Moon Duo, Teleman, Holy Esque, Beaty Heart and many more. These new artists join the formerly announced Dizzee Rascal, Jurassic 5, Kelis, Catfish and the Bottlemen, Mystery Jets, Gaz Coombes, Dawn Penn, Field Music, Young Fathers and loads more for the festival’s eighth instalment.
The festival’s organisers are thrilled to announce its final 2016 headliner, in the form of the highly influential and much-sampled funk icon George Clinton, who brings his Parliament Funkadelic Mothership to the Tramlines Main Stage for an unforgettable stage show featuring upwards of 20 musicians onstage.
Back by popular demand for their third Tramlines are Little Comets, bringing a classic indie rock set to the Saturday Main Stage.
Elsewhere, indie trio The Enemy will headline the Leadmill on Friday 22nd July in what will be one of their very last shows, following a recent announcement that the band will split after their autumn tour. Expect a farewell set punctuated with hit singles that have sold over a million copies around the world.
The experimental, psychedelic alt-rocker, Jane Weaver, brings her 20-year strong catalogue to the Tramlines Folk Forest, set in the beautiful Endcliffe Park. Joining her are much-feted leftfield indie-pop outfit Teleman, performing tracks from their brand new album, Brilliant Saintly.
Ipswich five-piece Basement are back with a bang after a short hiatus, to headline the City Hall’s majestic Grand Ballroom venue, having also just released a new album, Promise Everything. City Hall’s experimental rock lineup will also feature the debut appearance of Norwegian alt-rock group Shining, amongst others.
Crossing the Atlantic to play at Tramlines in the ethereal setting of the Sheffield Cathedral is U.S. pysch outfit Moon Duo, made up of Sanae Yamada and Ripley Johnson, also of psych heroes Wooden Shjips.
A bunch of breaking acts have also been added to the bill. Returning to Tramlines are psychedelic pop act Beaty Heart, Zuzu (who so impressed at Tramlines’ sister festival Outlines in February that they’ve been invited back by the team), Holy Esque (hot from appearing at SXSW), plus Yndi Halda, NARCS and Clay.
Dizzee Rascal / Catfish and the Bottlemen / George Clinton and Parliament Funkadelic / Jurassic 5 / Kelis
Basement / The Crookes / Dawn Penn / The Enemy / Field Music / Gaz Coombes / Goldie MBE / Floorplan / Hinds / Jane Weaver / Leon Vynehall / Little Comets / Little Simz / Moon Duo / My Nu Leng & Dread MC / Mystery Jets / Norman Jay MBE / Novelist / Paranoid London / Skream / Teleman / Toddla T Takeover / Young Fathers
All We Are / Amy Becker / ArcTanGent DJs / Ardyn / Banana Hill / Beaty Heart / Blessa / Boddika / C Duncan / Clay / Coco / Cowtown / Dan Mangan / Denis Sulta / Ekkah / exmagician / Fleetmac Wood / FYI Chris / Gwenno / Holly Macve / Holy Esque / Jasper James / K.O.G & The Zongo Brigade / Kuenta i Tambu / Laura J Martin / LEVELZ / Marquis Hawkes / Matrixxman / Meilyr Jones / Miles From Kinshasa / Mt Wolf / Mumdance B2B Pinch / NARCS / Nice Like Rice / P Money / Pure Bathing Culture / Randall / Roseau / Rukhsana Merrise / Saif Mode / Scuba / Sticky Blood / Sundara Karma / Thomas Truax / Toucans / Trash / Tom Trago / Yndi Halda / Zed Bias B2B Paleman / Zuzu
Jeff Wootton’s CV reads like a dream. He’s collaborated heavily with Damon Albarn, becoming Gorillaz’ lead guitarist in 2010 aged just 23, and playing alongside two of my heroes – The Clash’s Mick Jones and Paul Simonon – as the band embarked on their first world tour. Wootton also played on Albarn’s solo album and, in 2013, joined him, Brian Eno, Nick Zinner, and several other notable musicians and producers on a trip to Mali to record as part of Africa Express.
In a sweet twist to the Jeff’s story, one of LSF’s esteemed writers, Leon The Canteen put on Wootton’s first ever gig with his band The Black Marquee. He’s got an eye for talent, has our Leon.
Wootton recently released his debut solo album and, for a fortunate few, there’s the chance to own a limited edition version, complete with a suite of one-off Damien Hirst artwork, tailored to each track.
‘The Way The Light’ was recorded between Wootton’s home town of Manchester and Topanga, California, where – inspired by Brian Eno – Wootton and engineer Mark Howard (Bob Dylan, Neil Young, U2) constructed in-house studio installations, recording for a few weeks before dismantling the set-up to move on to the next.
A multi-instrumentalist, Wootton plays everything on the album besides the drums; supplied ably by Mark Heaney. As you might expect from such a well-respected musician (Jeff has collaborated with Massive Attack, Noel Gallagher, Liam Gallagher, and Can frontman Damo Suzuki), the musicianship throughout ‘The Way The Light’ is outstanding. Sonically, it’s an exploratory and experimental experience, with a clever delivery of melody.
Producer Mark Howard – the man credited with Neil Young’s ‘new’ guitar sound on Le Noise – has crafted an amazing sounding album, as Jeff explains: “Mark Howard is a big influence on the record. Every record he has made has stood the test of time. He was very much involved in working on Dylan’s Time Out of Mind and No Mercy, so to have his vibe on the production is great. The intention was to push a different sound. The aim of this one was to freak people out!”
Recounting the formation of the album, Jeff tells me: “The slower stuff was written on acoustic guitar, with the heavier stuff jammed out on electric. I did some gigs with Simon Jones from The Verve early in my career and they used to work like that – record jams and chop up sections. You pick up stuff from everyone you work with. When you play ‘free form’ you come up with music that you never would if you were thinking about it, which is the beauty of writing like that. I learnt a lot about melody from working with Damon as he’s got an amazing gift for it. This record has got all that.”
I ask about the meaning of the album for Wootton: “’The Way The Light’ is about how much light you can have on your life; how much you let in or shine on you. The slower songs have more sentiment and more meaning, and are more personal than the faster ones.”
Although Wootton is primarily known as a guitarist – and this is largely a guitar-driven album – his lyrics are considered and he is evidently an accomplished vocalist. So who are his literary heroes?
“Lyrically, I learnt everything I know from songwriters, with Dylan being ‘the man’! I like abstract stuff. You can’t go wrong if you start with Dylan. Then you move on to Hendrix , who is also abstract and massively underrated as a lyricist.”
And so to the gig… I am curious to see how the sound of the album transfers to a live performance. Manchester’s Night and Day Café is packed for its home-town hero’s pre-tour gig and the atmosphere bristles with electric anticipation.
In support is Nev Cottee, an established Manc singer songwriter who plays us songs, so heavy with Mancunian atmosphere you can almost taste the drizzle. The tunes – from his new album, ‘Strange News From The Sun‘ – come to life with folky pizzazz, accompanied by double bass and reverberating harmonica.
Nev Cottee
Despite being hampered by technical issues, Wootton’s set is energetic, enthralling and fun. Amidst structural changes and additional musicians, tracks are thoughtfully composed into a set that makes you want to dance! The influences of Wootton’s celebrated past collaborators are evident but less subtle, live. There’s a Gallagher-esque vocal delivery, and an atmospheric ‘caress’ that Massive Attack would be proud of; however, this is original, inclusive and exciting music. It would certainly be suited to a much larger stage. In fact, you can imagine being in a wide open, starlit festival field when the last notes of ‘Sonik Drips’ ring out and the band exits the stage.
Jeff Wooton
So what does the future hold for Jeff Wootton?
“I’m still not where I want to be. I’ve done the band thing and now I want to create records that push boundaries, stand out, and stand the test of time. If you listen to ‘Are You Experienced?’ or records by Joy Division, or The Roses they take their influences and push forward with it. Every classic band has an element of the past but puts something of future in it. I have a lot of records in me; I want to make art and be fearless with it.”
If this is the ‘chrysalis’ stage for Jeff’s music, we can’t wait to see what his next beautiful creation will be. ‘The Way The Light’ is undoubtedly a bright beginning.
