A trip to the fairy tale city of York for an evening’s entertainment at the 45 Vinyl Café in York. With the weather cooling down somewhat, it’s a sold-out show in this amazing café that transforms into a listening room for regular events. Co-owner Ian explains before the revelries begin how a listening room works. No talking during the performance, unless the performer instigates it, which is such a pleasant change from the chattering we are plagued with nowadays.
This is especially good for a support act, as they usually bear the brunt of those more interested in catching up on their social life than listening to music. Tonight we are joined by York’s very own Ned Swarbrick, a singer-songwriter steeped in the folk tradition and an absolute joy to watch. His drop-thumb, finger-picking guitar sound, reminiscent of Nick Drake, John Martyn or Johnny Flynn, and we are treated to a forty-minute set of original material. This was Swarbrick’s first gig for six months as he had been concentrating on his exams for a while, but there were no indications of nerves or signs that time away from the live scene had left his guitar playing anything less than dazzling. He played a selection of his older songs, including the marvellous Emperor’s New Clothes and the stunning When The Wind Blows, and had time to also indulge us with a new song, In My Mind, which was greeted by rapturous applause. Swarbrick has a wonderfully relaxed stage presence, happy to regale us with interesting anecdotes between songs whilst sorting out his non-standard tuning on the guitar. At one point, he totally forgot which key he was going for as he was lost in the story of how he knew Peter Gabriel, or not as it turned out. An intriguing story, as he assured us, we could all use the same ruse and even interchange with any member of the original Genesis line-up.
Swarbrick explained how he worked with Button Down TV and Channel 4’s Steam Train Diaries, about the North Yorkshire Moors Railway, where they used his excellent track, The Ways, closing the final show. With his distinctive voice and splendid guitar playing coupled with his lyrical dexterity, Swarbrick is one to watch out for. The crowd were enthralled and gave him a long and well-earned send-off at the end. As a warm-up act, Swarbrick had done his job; the heat was beginning to rise along with the anticipation.
Now onto the main event and a case of follow that for Brent Rupard’s Everette. Originally from Bowling Green, Kentucky, and now residing in Nashville, Rupard heard about the famous 45 Vinyl Café and Listening Room from friends and decided it needed to be on their short trip over the pond. At only four dates- Glasgow, Manchester, Saxmundham and this one- there were only limited opportunities to see Everette live. Joined by the extremely talented guitar player and singer, Zack White, tonight playing dobro, both artists made their way to the corner stage for what turned out to be another special night at the 45 vinyl café.
Rupard explained that this was his first visit to the magical city of York and that he wanted his first chord played here to be memorable. Striking the chord to ecstatic cheering and stamping of feet, the band dove into the opener and title of the tour, Glad To Be Here. This was followed by the tale of how Rupard had heard about the venue from fellow musicians in Nashville, all saying that he had to play there. The walls are adorned with signed photographs of acts that have been here, and even Elvis Presley’s jacket hangs on the toilet wall, so no pressure. The single Worry, released in April, followed the anecdote, and as the lyric says, “There’s a whole world of worry out there / If worry is what you wanted to do / But all the worry in the world won’t get you nowhere / So I wouldn’t worry if I were you”, so ignore any pressure and carry on.
The title track to the double album Kings Of The Dairy Queen Parking Lot was next up and included well-received, audience-led participation. A song lamenting the old days of hanging out with friends in those early days of freedom before any responsibilities. Where Everette excels is in a well-crafted and excellent choice of cover versions. We would be gifted quite a few this evening, and the first from the pen of Bernie Taupin and musically genius Elton John. The band’s version of Rocket Man is faithful to the original and, with White’s exquisite guitar playing, gives it a sparkling dimension fit for space flight. The cry in Rupard’s voice takes the isolation and desperation to another level.
Next up is a song Rupard wrote many years ago, dusted off and guaranteed, in his words, to give a bit of “booty wiggle”. Freight Train is a riotous, old-timey country tune, played slightly faster than the 2025 single, and even better for it. The crowd loved it, with many singing along. The single Settling Down was next and is exactly as the title suggests. After a friend claimed Rupard was “wilder than a sack full of bats”, he came up with this one. Slowing the pace down, giving the room a breather and bringing the temperature down just a little. White’s splendid guitar playing weaves a spell around Rupard’s vocals perfectly.
More sing-along magic with Woo Hoo Hoo. A song that came about quite by accident when Rupard and a writing partner had hit a roadblock. A chance remark and the song was born. The packed crowd joined in enthusiastically with White conducting from stage left. Now swearing has become accepted in songs of late, and Everette have their own clever way of getting around any outrage with their altered words, Shrunk As Drit. Rupard’s mother’s least favourite song but as “hunny as fell” (see what I did there?) It all came about when co-writer Aaron Raitiere said “tanzan” instead of “suntan” and the idea had legs and practically ran onto the page. Keeping up with all the backwards words takes some listening, but there were a lot of smiling faces by the end.
The second cover version is a credible take on The Chicks’ Long Time Gone, written by Darrell Scott. Taking from their multi-selling Home album, it’s an excellent choice and a slice of pure country. Keys To Kentucky, a cut from a live-in-the-studio EP, took the pace down. White and Rupard harmonising beautifully, and white showing his slide guitar skills.
Rupard tells a story of how he introduced Vince Gill to his parents backstage and left them to have their moment with one of their musical heroes. He also explains that his young daughter is called Lucy Jane, so it is only fitting he plays Gill’s Liza Jane and changes the name every verse or so. It also allows him to break out the harmonica, and although he confesses to not being proficient in the instrument, it sounds pretty good from the stalls. He had only just realised the harmonica had come along for the ride East, so York was honoured.
One of the many standout moments of the night was the sad but beautiful cover of the Golden Age song, If Rifles Shot Roses. “I wish rifles shot roses / And records never scratched”. Rupard’s voice held the audience in awe throughout, a special moment. Taking up the pace, we discovered we were a room full of Whiskey drinkers. Rupard has had to scale back on the good stuff, mixing dirty martinis now, but don’t tell anybody; he has a reputation to uphold. Dang, The Whiskey is the tale of how too much of that sour mash can cause mayhem.
Space Between The Stars recalls a time when relationships are struggling and hanging by a thread. Sometimes just holding on is all the other person needs, so please be supportive of each other. Right, that’s the relationship lesson over. A broken guitar string during The Man I’m Trying To Be brings forth one of the two pre-performance worries Rupard has. The other is forgotten lyrics. In steps Zack White, giving us one of his and his wife Maggie’s songs, performed under the name Zaggie. Asking if the room wanted serious or funny, funny won easily and White sang Family Tree. Realising his and his wife’s trees were very similar, he decided it isn’t always good to look too much into something. Very funny and well received.
Six strings back in place and a cover of the wonderful Crowded House song Don’t Dream It’s Over, brilliantly played with the audience joining in. Segueing for a moment back into Kings of the Dairy Queen Parking Lot. Same chord progression, nothing to see here, Finn brothers. Looking at the clock, it was nearly over, ending with High and Lonesome, rapturous applause and a call for more.
Rupard wrote a song called Both Sides Of The Fence with Larry Fleet. Despite encouragement from Fleet, Everette hasn’t recorded it yet; however, there is an excellent Fleet version available. It is a call for common ground and the premise that everyone is different, and we should celebrate that fact. Fleet claimed this could have been a career-defining release for Rupard, quite possibly, but it’s a nice story, a gorgeous song, and great to hear it here at the 45 Vinyl Café. Finally, we are all welcome to sing as loud as we can on Tom Petty’s Free Fallin’. The wonderful thing is that as The 45 Vinyl Café opens straight onto the street in York, people are passing all the time. To see people looking into the room with wonder on their faces is a thing to behold, all of them wondering what they are missing out on. For this special night, we were all pleased to be on the inside. The duo had the audience in the palm of their hands. Rupard was especially taken by York Minster, but 45 Vinyl is the real church here; with nights like this, may it long continue.
