Hannah Aldridge and Lilly Hiatt

Doors 8.00pm

£12.00

Hello all, great gig with Carol Laula and her band on Saturday and news of the next event at Woodend. As you probably know I get excited about all the gigs I put on, but with some there is a little extra added anticipation, a frisson of excitement! It happened with the Pines, Rebecca Pronsky, the Mastersons, Sarah MacDougall, Rod Picott, Larkin Poe, Amanda Shires and many others who all went on to put on fantastic shows.

Well I’ve got that feeling again for the Hannah Aldridge and Lilly Hiatt gig this week on the 23rd of June, Referendum Night at Woodend. This will be the last night of their tour so let’s help them round it off in style, Glasgow style! Tour going great so far and two excellent reviews below.

I was lucky enough to catch Hannah in London about a year ago when she did a great set at the Green Note; I subsequently bought her album which is absolutely fabulous and then I got Lilly Hiatt’s album Royal Blue which is one of my favourite albums of the year. So come along and catch these guys, I just know it’s going to be great, trust me!! Doors at 8.00 so go and vote, keep us in Europe, and reject those bampots who preach fear and division the come hear some great music!

http://www.threechordsandthetruthuk.co.uk/2016/06/hannah-aldridge-lilly-hiatt-kitchen.html

http://nodepression.com/live-review/hannah-aldridge-and-lilly-hiatt-too-much-talent-one-small-room

Hannah Aldridge and Lilly Hiatt, both daughters of two great artists
Hannah Aldridge is the daughter of Alabama Music Hall of Famer Walt Aldridge, who is one of the most prolific songwriters of the modern musical era.

With sounds ranging from blues in the Mississippi Delta to the dusty, Dixieland jazz sounds from New Orleans, the musical stylings of Muscle Shoals on up to the primitive roots of American Country music, Hannah Aldridge leaves no inspiration or influence untapped.

Lilly Hiatt is the daughter of John Hiatt and her second alum Royal Blue, is about the majesty of melancholy-or, as she explains it, “accepting the sadder aspects of life and finding some peace in them.” A dance between pedal steel and synths, the album examines the vagaries of love and commitment but steadfastly refuses to romanticize any notion of romance.

Singing in a barbed lilt full of deep worry and gritty determination in equal measure, she conveys emotions too finely shaded to be easily named, yet will be familiar to any listener who’s had their heart broken-or has broken a heart.