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 - Woensdag 7: Podium Pingjum, Pingjum


- Donderdag 8: Poppodium Volt, Sittard


 - Vrijdag 9: - Podium Gorter, Balk


- Zaterdag 10: De Kaap, Steendam


- Zondag 11: Cultuurhuys De Kroon, Waddinxveen




- Vrijdag 17: Theater Swanla, Zevenhuizen


-Zaterdag 18: Theater De Tamboer, Hoogeveen


- Zondag 19: Theater Posa, Lelystad


Rachel has built up an incredible reputation as one of the finest alternative ethereal folk performers in the country. She performs all across the UK as well as in her hometown of York. She has a following which is unparalleled anywhere else and is regarded as one of the best independent folk and acoustic musicians.

Musician and songwriter based in York UK, Rachel’s complex and rich vocals play over rhythmic fingerpicked guitar. Her alternative folk songs are inspired by ethereal Celtic melodies and the thoughtful lyrics of storytelling songs, which narrate her experiences living and busking in the city. Having performed for a number of years as the vocalist in the Croft and Mullen jazz band, notes of soul and the Great American Songbook are instilled in her vocal style. She is influenced greatly by Eva Cassidy, Laura Marling, Joni Mitchell and Matt Corby, as well as more contemporary artists such as London Grammar. Having played the main stages of Warwick Folk Week, Bromyard Folk Festival and Beverley Folk Festival among others for her first year on the festival circuit, 2018 promises to be an exciting time for Rachel. 
“Rarely have I heard such an effortlessly powerful vocal from any (female) singer...more to be heard from this young lady in the future I'm certain” Jonti Willis, Sine fm. 
“An accomplished guitarist as well as a superb singer, Croft’s performance is controlled and precise...there's also an impressive polish to her original songs.” “Truly exceptional” Jericho Keys, BBC Introducing York & North Yorks 


Period: April 2023


Paul Batto has been a steady presence on the European scene for many years. Although rooted in traditional genres, he defies category, blends influences and evades labels. Paul is a prolific songwriter, guitarist and singer who, through visceral and deeply personal lyric, offers the listener glimpses into his ever-restless soul. He’s got stories to tell and they come as songs of many shapes and colors. 


Robert Christian is a “master of the Stratocaster” - characterized by his uniquely tasteful and soulful style. His uncanny ability to simultaneously blend in and stand out makes any good song instantly better. One of a kind guitar voice.


Ondra Kriz. The black&white keys-wiz who has been playing since he was old enough to first walk to the piano. Trained in classical music and jazz. His cross-genre experience and all round musicianship make him a perfect match for a song-driven trio. 


Thanks to their shared musical sensibilities, influences and tastes the trio manage to create a wide palette of moods and a sound all their own. 

WEST OF EDEN ( Sweden )

Period: September 2023


West of Eden is the Swedish folk-rock band that has vitalized the Celtic music scene with their unique sound and brilliant songwriting. Masterful musicianship combined with the extraordinary voice of singer Jenny Schaub and a deep love for the traditional British and Irish folk music has earned them a solid reputation amongst critics and fans around the globe.

With twelve highly praised albums under their belt, the band has now gotten used to being called “Simply phenomenal” (Rock ‘n’ Reel). “Masters of their genre” (UNT) and “The best of contemporary folk” (Irish Music Magazine)!

Over the years West of Eden have collaborated with musicians such as Kate Rusby, Ron Block, Michael McGoldrick, John McCusker and many more. The Band has toured Ireland, Germany. Benelux, Scandinavia and even China, played at the Underneath The Stars Festival in the UK, performed a multi-media concert together with the Swedish National Orchestra and also for many years now hosted their popular annual Celtic Christmas-concerts.

The last years have seen West of Eden release Look To The West – an album which tells the story of the large emigration to America in the late 19th century (“An album that already may be regarded as a piece of legacy” -Rootsville). The band also collected their finest songs on the ambitious box set No Time Like The Past which celebrates their first twenty years together.

In 2021 West of Eden dived deep into the music of the early 20th century Swedish singer/songwriter Evert Taube. For the first time West of Eden were singing in their native language while using their love for the Celtic music to breathe new life into songs sometimes too weighed down by their legendary status. The album TAUBE was a bold new venture for the band that didn’t disappoint.

2022 will see the release of yet another West of Eden Christmas album featuring some brand new material mixed with traditional Christmas songs. Something to look forward to! 

Going to a West of Eden concert, you are sure to be amazed at how the band easily throw themselves between intimate acoustic storytelling, traditional tunes and catchy uplifting folk-rock.

And they can be quite funny as well 😉

A truly great live band!




Phil Gates werd geboren in Chicago, Illinois, in een familie van muzikanten die hebben bijgedragen aan de vorming van zijn muziekstijl en talent. Phil is een multi-instrumentalist; vanaf zijn 7e heeft hij viool, klarinet, drums en tenslotte zichzelf gitaar leren spelen. De expressiviteit van elektrische gitaar en slidegitaar werden de muzikale hoekstenen voor Phil. Vroege invloeden voor Phil waren Buddy Guy, Muddy Waters, Roy Buchanan, Jimi Hendrix, Shuggie Otis, Rory Gallagher en Johnny Winter.


Phil begon op 18-jarige leeftijd professioneel te spelen met verschillende projecten. Hij trad op in zowel clubs als grote zalen in meer dan vijftien verschillende landen. Phil heeft het podium gedeeld en gewerkt met geweldige bluesartiesten zoals Buddy Guy, John Mayall, Coco Montoya, Tommy Castro, Janiva Magness, John Nemeth, Kenny Neal, Eric Gales en vele anderen.


Phil is een actieve pleitbezorger voor de blues, zowel als bluesartiest als achter de schermen bij de Los Angeles Blues Society. Hij is jarenlang een gewaardeerd jurylid geweest bij de International Blues Challenge van de Blues Foundation (IBC) in Memphis, TN en ook bij de "King of the Blues" wedstrijd in Hollywood. Phil trad overal ter wereld op met zijn eigen stijl van The Blues, waarbij zijn gitaarwerk terugkomt in alles wat hij doet.




-Donderdag 16: Poppodium De Peppel, Zeist


- Vrijdag 17: De Colle, Kollum


-Zaterdag 18: Southern Bluesnight Festival, Heerlen


- Zondag 19: Muziekpodium De Cactus, Hengelo





Band biography:

Leaving Spirit stands for handmade rockmusic with influences from blues-, country- and southernrock! The six young musicians from Wuerzburg, Germany present their original songs in the style of Neil Young, Eagles, Blackberry Smoke, etc. Their debut album „Things Change“ will be released on August 2nd, 2019 on all digital platforms and on CD via amazon. In addition to classic rock formation based on three guitars, bass and drums, they also use some more exotic instruments like lap steel guitar, mandolin and blues harp.

The band was founded in 2016 out of a project of a local music school in Wuerzburg. Since then they played a lot of gigs in the local area around their hometown. The band presented their first original song “Red Leaves” at „Enter the Stage“ contest of a local rock organization (WüRG e.V.) in May 2017. In the following months they played a lot of gigs at clubs and festivals in northern bavaria and began to record their debut album in 2018. They will play a small tour around Germany to support their release.


Homepage: Instagram: Members:

Anton Bohne - Guitar

Linus Glaesemer - Bass Florian Eppel - Guitar, Vocals Leo Kürschner - Guitar

Paula Frecot - Vocals

Felix Möser - Drums

Musical Influences:

Neil Young, Blackberry Smoke, Eagles, Led Zeppelin, Robert Johnson, Allman Brothers, Eric Clapton, BB King, Larkin Poe, ZZ Top, Lynyrd Skynyrd, Blind Lemon Jefferson, Robert Cray.

Kentucky Snake Oil

American Roots Music



- Zaterdag 26: Dorpshuis Ons Noabershoes, Veelerveen



- Donderdag 8: Poppodium Volt, Sittard


- Vrijdag 9: - Podium Gorter, Balk  ( uitverkocht )




-Zaterdag 28: Sense, Dokkum



- Zaterdag 4: 't Buurthuus, Noordwolde


 -Vrijdag 17: Swanla theater, Zevenhuizen



- Vrijdag 3: Lewinski, Sneek 



 - Zaterdag 1: Groate Kerk, Sint Jabik



 - Zaterdag 10: Cultuurhuys De Kroon, Waddinxveen


Mario Kramer - vocal, guitar

Sebastian L. Meijer – fiddle, vocal

Douwe Dijkstra - double bass

Wander van Duin - banjo, dobro, vocal


 With fiddle, banjo, double bass, guitar and vocals, Kentucky Snake Oil brings a mix of Bluegrass, Country and Americana.

Swinging traditionals are interspersed with atmospheric songs that evoke images of classic westerns.

The band plays a varied repertoire that includes songs from Johnny Cash, Bruce Springsteen, Hank Williams and Mumford & Sons.



Nu te boeken bij Real Cool Management!


Periode: 7 t/m 17 september 2023



- Vrijdag 8: KaapSteendam, Steendam


- Donderdag 14: Muziekpodium De Cactus, Hengelo ( in optie )


- Vrijdag 15: Kulturhus, Borne


Kentucky Snake Oil ft Chris Jagger


Chris Jagger has been busy, as, it seems, he always is. There’s been the song writing:

adding to the pile of 100+ compositions he’s created, recorded and had published

over the years and heard on the dozen albums he’s released, some solo, some with

his band Atcha. And there’s been the small scale animal husbandry: he and his wife

keep chickens and sheep at the farmhouse near Glastonbury they’ve called home for

20 years. In fact keep an ear out, because some of that livestock is about to have a

walk-on part on his brand new album Mixing Up The Medicine, scheduled for

release on September 10th through BMG.


In addition, Jagger also spent lockdown completing his long-in-the-works memoir

and autobiography Talking To Myself, which is published on September 10th . It’s a

rich, detailed, hilarious, gossipy tale that digs deep into he and his older brother

Mick’s upbringing in Dartford, Kent, and plots the siblings’ emergence into

adulthood and shared lifelong appreciation for the blues. It also chronicles the

younger Jagger’s musical adventures from the Seventies onwards with entertaining

detours into his travels to India, Pakistan, Afghanistan and Israel, where he also

acted in a production of the musical Hair.


“I thought about starting a book in the 1990s, because I began writing some

journalism pieces,” explains this lifelong multi-tasker whose CV also includes

treading the boards with Pierce Brosnan and Ciarán Hinds, making blues

documentaries for the BBC and Sky Arts, and fleeting lyric additions on two Rolling

Stones albums, Dirty Work and Steel Wheels.


“I did float the project to a couple of people, but I found the literary world was rather

stodgy. I got a literary agent – this is in the days when people still wrote typed letters

– but I didn’t get any further than a couple of sample chapters. So, I put it on the

back burner. The funny thing was that once I turned the grand old age of 40 I

somehow seemed to change my disposition. I just determined to do what I liked, and

I didn’t really care what others might think. Perhaps I’d been too defensive in

covering up my inadequacies and wary of criticism in the past. You might seek to

justify your actions too much. What people write or say in the newspapers can be

quite hurtful if you let it get to you.”


He continues, “I just thought, to hell with it, and proceeded to play the music I

wanted, even if it wasn’t commercial. Perhaps others might come around to it. One

thing about Cajun music, I thought, was that it won’t go out of fashion as it’s never

been in fashion. It was more like folk music, it was there for people to enjoy if they

discover it.”


So Jagger finally cracked on with writing his book in 2019. It meant taking time off

gigging, something he’s done much of his adult life - his last jaunt was a world tour

with Charlie Hart in 2018/9 - and he turned lockdown into an unexpected bonus

because, he explains, “writing took longer than I anticipated. I did find I had to give it

my full attention, and it was a lot harder than I thought. It’s all very well linking a lot

of stories together, but what’s your style? I wrote it myself – I didn’t have a ghost

writer – so I had to find my voice. And you don’t want to get too literary, but you can

a little bit, so why not?”


Was it important, too, to tell his story of The Rolling Stones?


“Well, if you can appreciate being 14, 15 and going to see your brother in a blues

band, that I thought was more interesting than my contemporaries’ experiences;

they liked Marty Wilde and Cliff Richard, and I was listening to Jimmy Reed and

Howlin’ Wolf. That was so much more grown-up. Being introduced to that music

gives you a window on a completely different world.”


He continues, “There’s one passage in the book where I go and see the fledgling

Rolling Stones in The Scene club in London. I’d actually written that up some years

before, when I could remember all the detail like Keith in his beret! But that felt like a

seminal bit in the book so I spent a lot of time trying to bring it alive.

“But the chapters I most enjoyed writing were my travels, particularly to India. I

probably should have been a travel writer. But I didn’t really fancy telling everyone

about the wonderful places I’d been to, because then they go there and fuck it up!”

notes this hilariously no-nonsense man who’s also clearly a lifelong imbiber of truth



And then, of course, if Mick doesn’t write his own memoir, will Talking To Myself be

the only book of record of the Jagger family?


“Well, I don’t know,” Chris demurs. “I said to him, ‘I’ve almost finished my book, now

let’s do yours and he laughed.’ He’d do a fantastic book. He has a pretty good

memory so I would like to read his story for one. We share similar early influences,

and our parents were centre to that so I hope readers will find those details

interesting; what my mother and father looked like for example. Writing can be quite

prosaic and descriptive, it doesn’t have to be all poetry. I have even included got

some recipes in mine” he smiles.


As for the title? He chirpily confesses that it took a while.


“An alternative title was I Was There. Or, another one: Relative Obscurity” he laughs

gamely. “I mean, it’s not easy finding a title. Elton John called his Me. Is that a good



In the end Jagger plumped for Talking To Myself and wrote a jazzy tune with the

same name to go on his new upcoming album, Mixing Up The Medicine. Released a

day later on September 10th , Mixing Up The Medicine is a loose, lively collection of

Jagger/Hart originals, some written in collaboration with a poet who’s been dead

172 years, and the rest with his long standing musical wingman, pianist Charlie Hart.

Working out of a studio in South London near Hart’s Lewisham home, at Jagger’s

farmhouse, and down the line to each other when lockdown restrictions were in

force, the pair worked intensely. “It’s the most collaborative record we’ve done.”

They also called in a hit-list of top players to flesh out their music: old friend Olly

Blanchflower on double bass; Atcha band alumnus Dylan Howe on drums, “a very

respected jazz player who also plays rock & roll with Wilko Johnson” and another

friend, veteran producer John Porter, who’s worked with everyone from The Smiths

to Roxy Music, Buddy Guy, BB King and Elvis Costello. Porter in turn hired

experienced guitarist Neil Hubbard (Bryan Ferry, Joe Cocker), with some south

London mates of Hart on horns, Nick Payn and Frank Mead.


“Then I got in John Etheridge - who’s an old pal and who once played with Soft

Machine - to add some jazzy guitar, and Jody Linscott who I’ve known since the

Seventies, on percussion. Mostly the tracks were cut live in the studio as that’s what I

know, plus it gives gainful employment out.” Into that category we can also add

brother Mick on backing vocals.


As for Chris and Charlie’s inspiration, the inventive pair roamed far and wide:

“Charlie’s a bit of a jazzer, so we did two or three tracks like that. Then I found this

obscure poet called Thomas Beddoes" he says of the early 19th century writer and

physician. "I was reading this book by Ezra Pound, and he mentioned Beddoes. I

thought, well, if Pound mentions him, I gotta look him up. So, I found this book of his

called Death’s Jest Book, in which he wrote these kinds of weird plays. He was a poet

from Bristol, and his father knew Shelley, so he was coming in just after the Romantic

poets. He was an alcoholic and he committed suicide by poisoning himself in Basel in

1849. He was only 45.


“So I read some of his verse and took them and put them to music. I just thought he

needed a bit of a shout, being a largely ignored poet, of which there are many…”

Jagger used Beddoes’ poems for three songs: the irresistible Madness-like ska-pop

knees-up of the opening Anyone Seen My Heart?, the sea shanty-ish Loves’ Horn

and the voodoo soul of Wee Wee Tailor. Into Hart’s ‘jazzer’ category we can fit

Talking To Myself, the New Orleans sass of Merry Go Round and the in-the-wee-

small-hours croon and groove of A Love Like This. Honourable mention, too, to the

comforting bluesy lament of Hey Brother, a lovely ode to lifelong fraternal bonds.

But one thing unites all the songs: a rawness, a looseness, and the sense of a band of

brothers having a ball.


“Let’s face it, we’re coming to the end of our careers” he concedes, “You never know

if it’s gonna be your last record. So, with all the players I got the feeling that they

were going out to show that they still had it, still could play and they would put more

into this than if this was just a regular session. They were totally committed.”

Taken together this is Mixing Up The Medicine: a joyful, life-enhancing album by a

man well versed in a whole range of musical styles, distilled right here into 10 tight

tracks. “Then I realised ‘mixing up the medicine’ is also a line in Subterranean Homesick

Blues” Jagger chuckles. “I’d forgotten that. But I’m a big Bob Dylan fan, so that can’t

be a bad thing, right ?

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