Before Tony Wright and Milly arrived on stage, the audience were treated to an engaging set from Phil Cudworth and Boz, whose easy chemistry and irreverent humour quickly won over the room. Their songs balanced sharp observations with infectious melodies, creating a performance that was as thoughtful as it was entertaining. ‘Don’t Be A Dick’ wrapped a timely message about social division and basic human kindness in an inventive stop-start rhythm that gave the song real bite, while ‘Feel Alright’ offered a buoyant rejection of society’s obsession with status and achievement. Riding along on an irresistible groove, it became an understated anthem for finding contentment in ordinary life.
The pair continued to impress with the inventive ‘Disney Princess’, a witty and perceptive take on modern femininity that cleverly played with the stereotypes propagated by generations of Disney films. Crisp percussion and a memorable hook made it one of the set’s standout moments. ‘Cowardice’ explored the pressure to appear stronger than we really feel, balancing vulnerability with humour, while ‘Vodka And Wine’ showcased the duo’s gift for melodic kitchen-sink storytelling. The hilarious ‘V.I.P.’ skewered festival pretensions with affectionate mockery and plenty of laughs, before ‘Free For A Day’ closed the set on an uplifting note, celebrating the freedom that comes from ignoring expectations and embracing life on your own terms.
Marshall Gill then took to the stage and immediately demonstrated why he is regarded as one of the finest guitarists on the circuit. Drawing heavily from blues, soul and classic rock traditions, his set possessed both technical brilliance and emotional depth. From the rolling groove of ‘Coat Of Many Colours’ to the heartfelt ‘Why Can’t You See It From My Side?’, Gill’s superb musicianship was matched by powerful vocals that filled the venue with warmth and intensity. ‘Fahrenheit’ emerged as a particular highlight, a beautifully crafted blues ballad that allowed every note room to breathe, while ‘Times Have Changed’ drifted along on a soulful, effortlessly elegant melody.
Gill’s versatility was further showcased through a stunning James Hunter cover, delivered with soaring confidence and remarkable vocal control. ‘Old England Ain’t No Place For Me’ arrived with righteous conviction and plenty of swagger, while the fast-paced ‘Elephant In The Room’ injected a surge of urgency into proceedings. A heartfelt rendition of The Black Crowes’ ‘She Talks To Angels’ provided one of the evening’s most moving moments, with Gill’s expressive slide guitar perfectly complementing the song’s melancholy beauty. By the time he left the stage, he had not only warmed up the audience but reminded everyone just how captivating great blues-infused songwriting can be.
The reason tonight’s gig is so special, though, is the chance to see Tony Wright and Milly Evans perform songs from the amazing ‘Anti Album’. I love the raucous energy of a hook-laden Terrorvision gig but there is something really special about a Tony Wright Acoustic Tour, especially a gig organised by the brilliant Both Eyes Open, who work tirelessly to bring some of the best musical acts on the circuit to great independent venues like The Old Cold Store. Having a strong punk ethos and a genuine passion for music, Lee and Jayne put on inclusive, well-organised gigs where the crowd is always welcoming and the focus is on listening to the music and having a great time. Tonight, we are all looking forward to enjoying the simple power of a well-written song, executed with humour, flair and emotive depth. We were definitely not disappointed.
Tony Wright’s solo material with Milly layering beautiful melodies combined to create a really special atmosphere, balancing sharp observation with disarming honesty. ‘Sleep’ stood out immediately, its lyric “the poetry is in fact that you chose to write it” landing like a quiet revelation, the crowd clapping along as though collectively recognising something they’d always felt but never articulated. ‘Nothing To Write Home About’ leaned into everyday angst, wrapping melancholia in a melody that felt strangely comforting, while ‘Get It Wrong’ unfolded with a tender restraint that made its emotional weight linger long after the final chord.
‘Do You Love Me?’ carried a sincerity that cut through the room, its simplicity making it all the more affecting, while ‘Buried You Deeper’ took a darker, more gothic lyrical turn, offset beautifully by its unexpectedly danceable pulse. Elsewhere, ‘There’s A Party Over There’ turned into a joyous, slightly chaotic crowd-led moment, a kind of communal swear-a-long that captured the spirit of the night perfectly. ‘Jean and Jeanette’ added a lighter, playful frolic, and ‘Gamble, Drink and Smoke’, delivered with Milly taking a solo spotlight, brought a swaggering, rhythmic energy that had the crowd moving throughout. ‘Self Portrait’ closed the section with warmth, the audience joining in with claps and fragments of melody, blurring the line between performer and spectator.
Wright’s between-song storytelling deserves its own mention. Naturally charismatic, he shifted effortlessly from humour to reflection, drawing laughter one moment and quiet attention the next. Even an introduction that had the crowd chuckling about grassroots music and independent venues felt like part of the performance itself, setting up ‘Shallow Pool’ with a sense of shared purpose before the track exploded into rapid, duelling riffs that showcased the chemistry on stage. An absolutely stellar moment in an already glorious gig was the exquisite emotive pathos of ‘Cannonball’. The heart-breaking honesty of the lyrics like ‘When I’m down on the ground, I’m being told to stay down’ combined with vocal harmonies from Milly and the crowd but then the faint thread of hope that runs throughout the song remind us all why we are gathered in this room tonight. Wright sings a song of such distilled despair but today it reminds us all that music can be a great healer and that art is cathartic. We leave the venue full of thoughts about the importance of independent promoters, venues and the sheer beauty, brilliance and wit we have witnessed on stage tonight. This is why music matters.
Lyric Lounge Review – Tanya Russell
