In the truly welcoming and cosy surroundings of Little Rabbit Barn, a venue specialising in live gigs profiling Americana artists (largely) of the highest calibre, your writer had the pleasure of seeing an Annie Keating live performance. And my word, did it live up to the expectations thrust upon me by my close friend, who had seen her twice before at the same venue. Indeed, Keating actually talked about the LRB as “home“, so often has she played there.
Starting, unusually, so I was told, with a couple of acoustic songs; “don’t worry“, she said, “we will rock later”, Keating went into Belmont, the title track of her 2008 album, then followed with the delightful Water Tower View, the title track of her 2010 album. Her third song was a new one, reflecting on a new relationship that developed some time after a long-term relationship break-up: Transatlantic Reverie, a recent single, obviously meant a lot to Keating. We had already seen two members of her longstanding all-British band; drummer Jamie Dawson plays with support act The Dreaming Spires (as well as other visiting acts such as Carter Sampson), while the highly in-demand guitarist Joe Coombs also performed earlier on one song for the Spires. Coombs is a very tasteful guitarist who has played with a myriad of Americana-focused acts including Yola, Jaime Wyatt and Lynne Hanson. He can turn his talented hand to various electric and acoustic guitar styles as evidenced by this evening’s performance. And he can rock out when necessary, as Keating upped the rock-and-roll focus on a string of songs selected from her range of albums, and as the band really began to cook, Keating began bouncing round the stage in her bright red hunting jacket, encouraging both fellow musicians and audience.
On The Road by 10 (from Belmont) was a great song about life on the road as a travelling musician, while Storm Warning was a Chuck Berry-styled rocker from 2010’s For Keeps. This was followed by Lovesick Blues from Hard Frost (2022), on which Coombs’ slide and Scott Warman’s bass were exceptionally good. There were nice changes of pace throughout the set, as For the Taking (also from Belmont) moved into melodic country rock with a beautiful guitar sound from Coombs. Marigold (from 2021’s Bristol County Tides), a bluesier number, slowed things down a little before seamlessly running into the gentle acoustic country flavour of Coney Island, from Make Believing (2015). Keating then delved back into 2010 album For Keeps, with what she called “the nearest thing to bluegrass that we do”, a very fast Just for Today, which allowed drummer Dawson to have some fun. On the Loose was her last band track as she introduced The Dreaming Spires back on stage for a nice harmonious version of Neil Young’s Comes a Time, followed by a new song that was released earlier this year as a single; a co-write (at a distance) between the Spires’ Robin Bennett and Keating. Put Me in Your Hands was a catchy mid-paced song with some lovely harmonies, a passion project according to Keating.
Keating is a great communicator, and she shared anecdotes with the audience throughout, and mixed warmly with members of the audience afterwards. She also had one of the best and most expansive merch desks I’ve seen at a gig.
The above-mentioned Dreaming Spires began proceedings (introduced as sun-drenched country rock from Oxfordshire) with the Gram Parsons-inspired Singing Sin City from 2012’s Brothers in Brooklyn. Next, the band turned their attention to their home town of Didcot, from which Normal Town, Cooling Towers, 21st Century Light Industrial, and Real Life all first appeared on their 2025 album Normal Town. That album marked their comeback after a 10-year hiatus, and acquired its title after Didcot was named by researchers in 2017 as the most ‘normal’ town, representing England more than any other. The band played songs about industrial change, disappearing views, and small-town acceptance. The Spires play melodic jangly country rock, with a sound that varies between Tom Petty (whose Listen to Your Heart was played later on in the set), the Byrds’ Roger McGuinn, with Robin’s occasional adventures with a twelve-string guitar (“Did you know how difficult it is to tune one of these?” he noted). and Bruce Springsteen, as they successfully tackled Atlantic City from Nebraska. Brother Joe Bennett and drummer Dawson make up the current band. We Used To Have Parties introduced Annie Keating on stage, and their set ended with a riotous audience participation song, Dusty in Memphis, from their 2015 album Searching for the Supertruth.
A fine though slightly chilly evening was met with some fine but nowhere near chilly music, and, as usual at Little Rabbit Barn, an interval curry (included in the price). Tickets are usually available only to subscribers, but the quality of music there, as evidenced by this excellent double bill, is outstanding and worth exploring.
