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Elles Bailey- SWX, Bristol

Writer's picture: Paul GaineyPaul Gainey

Award-winning singer Elles Bailey's homecoming show at SWX in Bristol was a captivating, spellbinding gig which showcased her unique blend of Americana, country, rock and blues.


There’s nothing like a hometown crowd to kick a gig into the next dimension and it’s no coincidence that many bands’ most seminal performances have been on home soil.


Bristol native Elles has been amassing a significant horde of UK blues and Americana awards ever since her 2017 debut, and her fourth album, “Beneath The Neon Glow”, has gained widespread acclaim. It delves into the many facets of love with lyrically vulnerable and brutally honest songwriting.


Along with her core band comprising Joe Wilkins (guitar), Jonny Henderson (keyboards), Matthew Jones (percussion/drums), Matthew Waer (bass), and backing singer and acoustic guitarist Demi Marriner who provided one of the support slots, she has produced an album of real honesty and self-awareness.


Opening with a joyous foursome of “Enjoy The Ride”, “Leave The Light On”, “Ballad of a Broken Dream” and “1972”, it gave an example of what we were to expect. An evening full of rock ‘n’ soul, rhythm and blues with an Americana edge.


Upbeat crowd pleaser “Enjoy The Ride” perfectly encapsulated her passion for live performance, brimming with the confidence of an artist at the height of her powers.

Elles’ vocals were sultry and powerful, and the band created a rich, full sound that filled every corner of the venue, the audience drawn in by the seductive rhythm and her magnetic stage presence.


She then moves into her deeply personal song about her husband, and her many nights away on tour “Leave A Light On”. Elles admitted it was her favourite from her latest album.

Bailey launched into “Ballad of a Broken Dream”, another beauty off the album, bringing a darker energy and a rousing chorus line and an early glimpse into the band’s tight expertise.


The song tells the poignant tale of a musician who has burned too many bridges and finds solace only on stage. Bailey’s evocative lyrics create a compelling narrative. “Here he sits playing for tips and no one knows his name” paint a vivid picture, making this track a standout for both its emotional depth and melodic appeal.


The vibe goes retro with the percussive, sunshiny love tune “1972”, a natural single with an instantly memorable chorus, backing vocals, and a bubbling, understated blues guitar from the talented Wilkins.


I love the fact that Bristol can claim two of the greatest guitarists in the industry at this time, Joe Wilkins and Chris Buck from Cardinal Black, both who have strong links to the city.

The inspired good-time cover of John Martyn’s “Over The Hill” is upbeat from the off: while “Silhouette In A Sunset” brings the pace down a little and sees Johnny Henderson’s keyboard playing coming to the fore.


Wistfulness meets wide-eyed wonder on this serene song, co-written with Tamara Stewart, which changes the mood completely as its acoustic opening immediately sets a thoughtful and melancholy tone. But what follows is an emotional rollercoaster.


Demi Marinner takes up the acoustic guitar as Joe Wilkins lead lines introduce “Hell Or High Water”. Bailey’s warm, husky vocal now soaring, her connection with her fans palpable, as she took a moment to express her gratitude, clearly touched by how much her music resonated with them.


The song sounded huge, and Wilkins played an absolute blinding solo. “Hole In My Pocket” grinds its groovy bluesy way along ahead of audience favourite “Medicine Man” from Elles’ second album “Road I Call Home” replete with Hendersons wailing Hammond organ and Wilkins letting rip. Bailey may be the focus of the band, but she always makes sure every member gets a good slice of the limelight.


It’s always nice to see some oldies resurface, such as “Girl Who Owned The Blues” from her first album “Wildfire”. This delightful, melancholic ode to Janis Joplin sees Elles take a seat behind the piano next to the irrepressible Jonny Henderson on organ, with the melodic fretwork of guitarist Wilkins the perfect vehicle to Bailey’s soulful pipes.


The funk and soul party of “Love Yourself” got everybody grooving and then a soulful banger with “Truth Ain’t Gonna Save Us,” an admission that a relationship isn’t working (“We’re nothing left but shadows in the dust”).


She then really unleashes her rock side on the epic “Let It Burn,” another tune about the dissolution of a romantic situation, with Bailey revealing the song was a gift from singer-songwriter Katey Brookes. Brookes placed her trust in Elles to “finish the story “, of this broken relationship song.


Towering and atmospheric in equal parts, Marriner’s gospel-like accompaniment to Bailey’s impassioned vocals are a high point of the evening. The song had those wonderful harmonies and Wilkins eased out a David Gilmour-esque solo that was breathtaking.


The energy kept building with “The Game” and “If This Is Love” a prelude to the closing track “Riding Out The Storm” with the crowd urged to wave their arms on the bluesy, beautiful mid-tempo track from the “Shining In The Half Light” album. It’s a great song that sees Wilkins take the spotlight and dig out a sizzling solo.


Elles reminds us to “Turn Off The News” for the first track of the encore, a song recognizing the privilege of those who can “turn off the pain” after watching whatever horrific events unfolded in the world that day, before transporting us to the out-and-out rocker and show closer “Sunshine City” which sees the whole band rocking at their absolute peak, with sublime slide work from Wilkins and pacy percussion from drummer Matthew Jones.


Bailey’s voice is truly something special – it’s equal parts raw and refined, fused with a real depth and emotionality, a heady blend of Stevie Nicks and Dusty Springfield. Soulful yet raw with that raspy ragged edge that just gets you, and the band are the perfect vehicle for Elles’ song writing and vocal talents.


Already making waves as a genre-blending roots singer-songwriter, she proved why she’s one of the most electrifying live performers today. The future of country, americana and blues is in very safe hands.

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