Weds 9th Aug: Benedict Benjamin (full band show) / Robert Chaney

The Harrison, 28 Harrison Street, Kings Cross,  WC1H 8JF. Ph: 020 7278 3966

Tickets £7.00 adv BUY NOW / £8.00 door

Nearest tube Kings Cross, 5 mins walk

 

 

Benedict Benjamin is Ben Rubinstein, formerly of The Mariner’s Children and Peggy Sue (Wichita Records). His debut album ‘Night Songs’ is a collection of timeless compositions recorded in a series of churches, bedrooms and kitchens across London and Kent with producer Dan Blackett (Landshapes, Bella Union). Ben is first and foremost a classic songwriter, his wonderfully cinematic songs shot through with the heartbreaking swoon of Roy Orbison, the soothing harmonies of the Everly Brothers and the honesty of Jeff Tweedy. His darkly romantic music undercuts the dreamlike beauty of early 60s pop with lyrics frank and poetic, taking you to a David Lynch-like world that makes the heart swell and the head spin. His plays tonight with his full band a s a warm-up for the prestigious Green Man Festival.

 

A rising star on the London folk scene, American singer-songwriter Robert Chaney counts Townes Van Zandt, Hank Williams and Judee Sill as influences. A remarkable songwriter with a voice to send shivers down your spine, sown deep into his songs are threads of the dusty blues of the 20s and 30s, pulp noir tales of the 40s, the cable-knit folk revival of the 50s, and the French celluloid new wave of the 60s. His recently released debut album ‘Cracked Picture Frames’ garnered high praise in the music press, with Folk Radio UK making it their featured album of the month.

‘Sharp, intelligent, thoughtful and moving’ (Folk Radio UK)

 

New Roots is committed to promoting events that shine a light on up and coming talent in the UK alt-folk scene. It’s committed to providing artists with an environment that is sympathetic to what they do, giving musicians the respect they and their music deserves – for this reason we ask for no talking and no use of mobile phones while artists are performing. Our music policy comes from the kitchen table, the roots of public performance- intimate, acoustic based, high quality musicianship with as little interference between performer and listener as possible.

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