Little Arrow

It’s been a while since I last went to Chapter - to the Winter Villains album launch. And funny enough this time feels slightly déjà vu-ish, not only because of Will Hughes being on stage again, but also in terms of sound. Little Arrow play something really beautiful around alt-folk and chamber pop with some funky noise twist. Soothingly warm and gentle, their sound captivates the listener and takes them into the wild, following all the mood changes: from a peaceful dawn on the riverside to the full power storm with waves crushing over the towering rocks. But one should never forget that Little Arrow is also a lot of fun, always. - The Sprout

Many of the Welsh artists we introduce on Folk Radio UK seem to take inspiration from the surrounding Welsh landscape and they all sound incredible. Little Arrow is another one to add that list whose brand of folk music is firmly tied to the welsh land and sounds truly original, enchanting and inspiring. These sparsely used words in their short biography summed them up perfectly:

Front-man Will Hughes seems to have spent considerable time in the beautiful Welsh wilderness, a place I am very fond of and has some of the most stunning scenery in the British Isles. Their new album ‘Wild Wishes’ was released on March 4th, 2013. One of the stand-out tracks on that release was Paddy Fields which they have just released a video for. The video shows Will Hughes on a surreal journey along the Pembrokeshire coastline. The video was produced by On-Par Productions.

This is some of the most beautiful and radiant music I’ve heard in a long time, a perfect balance of between down-tempo and pastoral brightness…I can’t recommend them enough. - Folk Radio UK

Many of the Welsh artists we introduce on Folk Radio UK seem to take inspiration from the surrounding Welsh landscape and they all sound incredible. Little Arrow is another one to add that list whose brand of folk music is firmly tied to the welsh land and sounds truly original, enchanting and inspiring. These sparsely used words in their short biography summed them up perfectly:

Front-man Will Hughes seems to have spent considerable time in the beautiful Welsh wilderness, a place I am very fond of and has some of the most stunning scenery in the British Isles. Their new album ‘Wild Wishes’ was released on March 4th, 2013. One of the stand-out tracks on that release was Paddy Fields which they have just released a video for. The video shows Will Hughes on a surreal journey along the Pembrokeshire coastline. The video was produced by On-Par Productions.

This is some of the most beautiful and radiant music I’ve heard in a long time, a perfect balance of between down-tempo and pastoral brightness…I can’t recommend them enough. - Folk Radio UK

Maybe you’ve heard of Fredrick Stanley Star? Maybe you’re aware that once upon a time they were Cardiff’s indie-folk golden kids? Maybe you’re aware that Fredrick Stanley Star sadly no longer exists as a musical entity. Maybe you’re aware that principle songwriter and vocalist William Hughes retreated back to his native West Wales following said band collapse and re-emerged with a new set of songs to once again bare that indie-folk torch.

Maybe you’re aware that they have their second album Wild Wishes out now?

Maybe you’re aware that this act is called “Little Arrow”…

…and they’re bloody great. - The MMP

Little Arrow are the finest up-and-coming acoustic band you’ll hear about this Spring. Hailing from Britain’s smallest city, St Davids, this spirited Welsh troupe are about to release their second album, ‘Wild Wishes’. Inspired by the wilderness of Pembrokeshire, Little Arrow produce enchanting sounds and dream-like melodies, performed by an ever-changing cast of lead singer, William Hughes’ friends and family. We caught up with main man William for a chat about what lies beneath the earthy themes of their latest album. - Turn On Tune In

You have a sense that Little Arrow wouldn’t have sounded out of place at the Middle Earth in 1967 scheduled between Tyrannosaurus Rex and Principal Edward’s Magic Theatre; and that is a good thing. The heart and soul of Little Arrow is William Hughes a shamanistic and charismatic figure who sings with a tremulous vibrato and a strong sense of drama. The songs on Wild Wishes ebb and flow; at times gentle and delicate such as “Ancient” and elsewhere on tracks such as “Wash” they are almost playful. Little Arrow are developing and growing as a band. If anything the production and arrangements have room for expansion. Tracks such as “Paddy Fields” have melodic themes and climactic passages that would be enhanced by swelling strings and keyboard embellishments. This is one band when you feel should ‘go large’. The epic closing track “Lead Us Now” hints at this as it takes us on a darker path; a trajectory into the heart of darkness. Little Arrow have huge potential and on the evidence of ‘Little Wishes’ it sounds as if they will be leading us into areas that are unchartered, fascinating and full of wonder. - New Sound Wales

I should really stop now before I continue to list every song as a highlight, which in fact it could. ‘Wild Wishes’ truly is one of those albums that you can listen to from start to finish and gain a great deal of pleasure from every graceful sound.

‘Wild Wishes’ is, quite simply, a must own album of 2013. - A Musical Priority

"It is beguiling, beautiful and heartrending, sometimes in the same song (‘The Ancient’) and deserves to be listened to with an open heart and complete faith in what you are about to hear. There can be no barriers here, this is music from another place, rustic, rootsy but also strangely contemporary. Orwell said truth is revolutionary, maybe Little Arrows truth will revolutionise us. The first great album of 2013." - Echoes and Dust

"Bathed in the golden glow of its own radiance is stand-out track, the soon-to-be-single Paddy Fields. Sublime and hypnotic, with dual boy-girl vocals that just add to the mesmeric effect, it shimmers and glistens while leaving you utterly enraptured.

Promoting wonderment at every turn Little Arrow fire the imagination. Go lose yourself in their sensory overload." - Wales Online

"What the album conjures up are images of Maurice Sendak’s renowned children’s book “Where The Wild Things Are” – its music with a sense of childlike adventure and imagination in a place of incredible natural beauty, but the apparent innocence on the surface is shadowed by something frightening lurking just out of sight at all times." - the MMP

West Wales outfit Little Arrow are that rare thing, a genuinely heartwarming group informed by an ancient folk tradition but not consumed by it. An act seemingly completely oblivious to the prevailing trends, making music for the sake of expression and in an attempt to affect the listener.Their fine album ‘Music, Masks & Poems’ released earlier this year on the quality Cardiff inprint Bubblewrap is the product of a genuinely communal effort(made up of friends and family members, including Margret Hughes his mother who provides a comforting female tone in the ether throughout). That produce wonderfully tender intertwining gospel harmonies, and intricate unfussy instrumentation, such that each brush of a cymbal and strum of a chord is allowed space to shiver unfettered. Little Arrow’s heart on their sleeve opus’ bring to mind journeys across oceans, recall visions of vast awe inspiring landscapes, and yee old medieval battles.These narratives are led by one man William Hughes(previously of Fredrick Stanley star) but backed by a gathered group of players, he sings in a wounded tone, first hushed then brave, warm and swelling toward choral, like a man peering into your soul at the dead of night and offering you advice from the bottom of a bottle. Or a uncle returning from voyage and regailing you with his travails in the past few years, as with opener ‘Bitten Blues’.

But its not overly serious its human and delightful: spine tingling instrumentation brushing upon your skin, and vocies that quivering the heart. see the personal introspective strums of ‘Dear Old Diary’ that comes replete with wonky harmonica blows. If you must have comparisons you could mention the tenderness and ragged communal harmonies of Crosby Stills and Nash, The nortical themes of Robert Wyatt, the hand-in-hand campfire male/female harmonies of 70s English folkies like the Fairport Convention. But comparisons are useless Little Arrow are weaving a intricate, literate, and open hearteded tapestry of song with pearless highlights. Like the shoulder to shoulder anthem ‘Aeroplane’ that carries you aloft up mountains on a wave of militaristic drum sweeps, twinkling xylophones and swelling brothers in arms chorus.’ The wonderfully precient ‘Vessel of Fear’ that’s sprawling journey through a sign of the times narrative, that’s tenderly illuminated by joined at the hip vocal interplay of this family affair, it feels somewhat apt in uncertain times(‘We are vessels of fear/Where we go I’m not sure?If we’ll have the choice to return.”)I urge you to join them, they might just help you find your way home. - God Is In The TV

West Wales outfit Little Arrow are that rare thing, a genuinely heartwarming group informed by an ancient folk tradition but not consumed by it. An act seemingly completely oblivious to the prevailing trends, making music for the sake of expression and in an attempt to affect the listener.Their fine album ‘Music, Masks & Poems’ released earlier this year on the quality Cardiff inprint Bubblewrap is the product of a genuinely communal effort(made up of friends and family members, including Margret Hughes his mother who provides a comforting female tone in the ether throughout). That produce wonderfully tender intertwining gospel harmonies, and intricate unfussy instrumentation, such that each brush of a cymbal and strum of a chord is allowed space to shiver unfettered. Little Arrow’s heart on their sleeve opus’ bring to mind journeys across oceans, recall visions of vast awe inspiring landscapes, and yee old medieval battles.These narratives are led by one man William Hughes(previously of Fredrick Stanley star) but backed by a gathered group of players, he sings in a wounded tone, first hushed then brave, warm and swelling toward choral, like a man peering into your soul at the dead of night and offering you advice from the bottom of a bottle. Or a uncle returning from voyage and regailing you with his travails in the past few years, as with opener ‘Bitten Blues’.

But its not overly serious its human and delightful: spine tingling instrumentation brushing upon your skin, and vocies that quivering the heart. see the personal introspective strums of ‘Dear Old Diary’ that comes replete with wonky harmonica blows. If you must have comparisons you could mention the tenderness and ragged communal harmonies of Crosby Stills and Nash, The nortical themes of Robert Wyatt, the hand-in-hand campfire male/female harmonies of 70s English folkies like the Fairport Convention. But comparisons are useless Little Arrow are weaving a intricate, literate, and open hearteded tapestry of song with pearless highlights. Like the shoulder to shoulder anthem ‘Aeroplane’ that carries you aloft up mountains on a wave of militaristic drum sweeps, twinkling xylophones and swelling brothers in arms chorus.’ The wonderfully precient ‘Vessel of Fear’ that’s sprawling journey through a sign of the times narrative, that’s tenderly illuminated by joined at the hip vocal interplay of this family affair, it feels somewhat apt in uncertain times(‘We are vessels of fear/Where we go I’m not sure?If we’ll have the choice to return.”)I urge you to join them, they might just help you find your way home. - God Is In The TV

Following swiftly on form their critically acclaimed debut album ‘Music, Masks & Poems’, West Wales’ indie folk outfit Little Arrow return with a free download single to whet your appetites for a full length second album this Summer.

‘Our Taste is Violence’ emerges from a chaos of ambient noise and breaks into what has become a crowd favourite at Little Arrow’s exhilarating live performances.

This release captures the band’s lively organic sound, whilst retaining high-quality production values, capturing every syllable of Will Hughes’ passionate vocal performance. All of this combined with a melodic hook that will be firmly rooted in your head for weeks, the song promises big things for Little Arrow in the year ahead.

‘Our Taste is Violence’ will be available for exclusive free download from bubblewrapcollective.co.uk and a handful of music websites from April 2012.

To accompany the release On-Par Productions, with the help of the band, has filmed a video for the song. Shot on the band’s native Pembrokeshire Coast, the video provides a perfect backdrop for the song. - Beat Review

Following swiftly on form their critically acclaimed debut album ‘Music, Masks & Poems’, West Wales’ indie folk outfit Little Arrow return with a free download single to whet your appetites for a full length second album this Summer.

‘Our Taste is Violence’ emerges from a chaos of ambient noise and breaks into what has become a crowd favourite at Little Arrow’s exhilarating live performances.

This release captures the band’s lively organic sound, whilst retaining high-quality production values, capturing every syllable of Will Hughes’ passionate vocal performance. All of this combined with a melodic hook that will be firmly rooted in your head for weeks, the song promises big things for Little Arrow in the year ahead.

‘Our Taste is Violence’ will be available for exclusive free download from bubblewrapcollective.co.uk and a handful of music websites from April 2012.

To accompany the release On-Par Productions, with the help of the band, has filmed a video for the song. Shot on the band’s native Pembrokeshire Coast, the video provides a perfect backdrop for the song. - Beat Review

Once upon a time, these parts were lit up by a strikingly original band named Frederick Stanley Star. In their short life they offered up seemingly viable futures for a number of musical genres and one or two new ones. At the centre of this now lost treasure was William Hughes, singer songwriter and all round impressive chap. Although Little Arrow creates a far more focused and linear musical journey, it retains the same spirit of invention and, of course, bucket-loads of skill. This debut record is a tour de force of contemporary folk and the opening track, Bitten Blues, sets the tone quite brilliantly. It floats in, as if on a breeze from a happier past and is equal parts melancholic and beautiful. It has to be said that overall the album would benefit from a much more diverse collection of songs, but this remains a very accomplished piece of work. - The MMP

Once upon a time, these parts were lit up by a strikingly original band named Frederick Stanley Star. In their short life they offered up seemingly viable futures for a number of musical genres and one or two new ones. At the centre of this now lost treasure was William Hughes, singer songwriter and all round impressive chap. Although Little Arrow creates a far more focused and linear musical journey, it retains the same spirit of invention and, of course, bucket-loads of skill. This debut record is a tour de force of contemporary folk and the opening track, Bitten Blues, sets the tone quite brilliantly. It floats in, as if on a breeze from a happier past and is equal parts melancholic and beautiful. It has to be said that overall the album would benefit from a much more diverse collection of songs, but this remains a very accomplished piece of work. - The MMP

Generally, when I hear someone advertise themselves as a folk band or folk singer, I can’t help but vomit a bit. As a genre, the respectable ages of British folk music have been savagely torn to pieces when major labels threw polite, innovative folk to the wolves of public adoration.

In one sense, the mass appeal of Mumford and Sons and Laura Marling are a good sign for folk music. It’s a reminder of a time when a folk festival drew a massive community of families and normal individuals as opposed to the more recent demographic of hippies and neopagan mentalists who are still clinging to some warped idea that the 1960s are still happening.

It’s a great relief to hear that all is not lost. Every now and then, someone produces a gem. Little Arrows’ first album Music, Masks and Poems is such a gem.

Previously, William Hughes was the singer in Fredrick Stanley Star. This is quite the departure. The opening track, Bitten Blues is one of the best folk tracks that I’ve ever heard. Although it could have done without the token ‘sea crashing on the shore’ opening, the vocal harmonies are deliciously good and the guitar run gives the feeling that you’re actually being carried through the song.

This is followed by Aeroplane which calls to mind the native songs of some American Native tribe – if they had ukeleles. Starting off with a crushingly tight chorus of ‘The aeroplane body glides’ being sung over and over, coming down into a mellow body until at 3:09 the track takes off into a hopeful chorus echoing the way the track started.

A lot of the tracks on the album seem to follow the pattern of the first two songs. This is a trap that a lot of folk artists have fallen into and probably the only fault that I can find with Little Arrows’ first offering. Even still, if you’ve got to listen to variations on two tracks, you would definitely not be disappointed to listen to these two tracks over and over.

Having said that, Dear Old Diary has overtones of Sufjan Stevens mixed with Elvis Perkins’ first album Ash Wednesday. This is the vocal quality of William Hughes – smooth but smokey and somewhat sardonic in tone and at the same time hopeful.

The circle is broken on Boat. While the modern folk genre is composed of songs that have a vaguely proletarian theme or songs about sailors, you would have very little trouble differentiating between a traditional folk song and a modern folk tune. I must admit, I did struggle to work out whether or not the bright, punchy sailing song Boat was a folk standard or not.

So although a lot of the album is on a bumpy plateau of interchangeable dynamics and choruses and vocal swells, Music, Masks and Poems is an absolute pleasure to listen to. The similarity of tracks shouldn’t take away from your enjoyment of this wonderful album at all – one of the best albums to be released by a Welsh artist in a long time.

Being locked away in a remote place and forcing yourself to write songs is, it would appear, the best way to produce a diamond album. - Plastik Magazine

Generally, when I hear someone advertise themselves as a folk band or folk singer, I can’t help but vomit a bit. As a genre, the respectable ages of British folk music have been savagely torn to pieces when major labels threw polite, innovative folk to the wolves of public adoration.

In one sense, the mass appeal of Mumford and Sons and Laura Marling are a good sign for folk music. It’s a reminder of a time when a folk festival drew a massive community of families and normal individuals as opposed to the more recent demographic of hippies and neopagan mentalists who are still clinging to some warped idea that the 1960s are still happening.

It’s a great relief to hear that all is not lost. Every now and then, someone produces a gem. Little Arrows’ first album Music, Masks and Poems is such a gem.

Previously, William Hughes was the singer in Fredrick Stanley Star. This is quite the departure. The opening track, Bitten Blues is one of the best folk tracks that I’ve ever heard. Although it could have done without the token ‘sea crashing on the shore’ opening, the vocal harmonies are deliciously good and the guitar run gives the feeling that you’re actually being carried through the song.

This is followed by Aeroplane which calls to mind the native songs of some American Native tribe – if they had ukeleles. Starting off with a crushingly tight chorus of ‘The aeroplane body glides’ being sung over and over, coming down into a mellow body until at 3:09 the track takes off into a hopeful chorus echoing the way the track started.

A lot of the tracks on the album seem to follow the pattern of the first two songs. This is a trap that a lot of folk artists have fallen into and probably the only fault that I can find with Little Arrows’ first offering. Even still, if you’ve got to listen to variations on two tracks, you would definitely not be disappointed to listen to these two tracks over and over.

Having said that, Dear Old Diary has overtones of Sufjan Stevens mixed with Elvis Perkins’ first album Ash Wednesday. This is the vocal quality of William Hughes – smooth but smokey and somewhat sardonic in tone and at the same time hopeful.

The circle is broken on Boat. While the modern folk genre is composed of songs that have a vaguely proletarian theme or songs about sailors, you would have very little trouble differentiating between a traditional folk song and a modern folk tune. I must admit, I did struggle to work out whether or not the bright, punchy sailing song Boat was a folk standard or not.

So although a lot of the album is on a bumpy plateau of interchangeable dynamics and choruses and vocal swells, Music, Masks and Poems is an absolute pleasure to listen to. The similarity of tracks shouldn’t take away from your enjoyment of this wonderful album at all – one of the best albums to be released by a Welsh artist in a long time.

Being locked away in a remote place and forcing yourself to write songs is, it would appear, the best way to produce a diamond album. - Plastik Magazine

With the opportunity to ruminate on Wales’ effervescent year of releases that the inaugural Welsh Music Prize gave us, one undeniably noticeable absence from its impressive list was Little Arrow’s Music, Masks And Poems. Elegantly defined, epiphany-laden, thoughtful and instrumentally rich, it’s fair to say there were few more assured debut LPs released, not just in Wales, but in the whole God damn world!

Both the LP, and Little Arrow more broadly, are beneficiaries of sensitive ears to the folk tradition, old and new. At points the female harmonies around Williams Hughes’ main vocal line conjure reminiscences of Beverley and John Martyn. At others, the melodics and pastoral imagery echo the contemporary arrangements of Bowerbirds. And throughout all of it, the songwriting feels like a more believable re-imagining of Johnny Flynn’s rustic approach to the genre.

Of course, those ‘in the know’ are familiar with Hughes from his fondly remembered time in cult Cardiff indie legends Frederick Stanley Star. Nevertheless, even those ‘in the know’ had to be surprised by the rich and resonant depth both that the LP exuded, and that their live shows continue to demonstrate. Indeed, one of this year’s live musical highlights was catching a mesmerising acoustic show in the delightfully miniscule setting of Thé Pot. There, completely unplugged, unfurled the kind of sonic massage that makes your lips go all droopy. Impeccably entwined guitar and uke lines, technically perfect and carefully paced percussion, splashes of accordion, harmonica and more. And before that all stood multiple vocal harmonies dispensing lyrical wisdoms that only the wild West of Wales can seemingly inspire. Credit goes both to Hughes for his expansive musical and lyrical palette, and to his bandmates – Daisy Haran, Ben Sharpe, Richard Robinson and Daniel Messore – who precisely bring it all to life.

Despite their absence from the Welsh Music Prize list, on the back of their output so far, Little Arrow’s arc is aiming at the moon. A recent slobberknocking SWN show, and the promise of recently published snippets ahead of the imminent second LP, rightly give us all cause to suffer a bout of anticipatory ear shivers. New track Meadows particularly has all of the excitement of the early Devendra Banhart demos; Hughes’ vocal quivering with the beauty of a slowing moth’s wing, while the lyrical content weaves fittingly into the ember-glowing, campfire warmth of the acoustics.

With a release date planned for December, that album launch may well be something utterly special indeed. - The MMP

With the opportunity to ruminate on Wales’ effervescent year of releases that the inaugural Welsh Music Prize gave us, one undeniably noticeable absence from its impressive list was Little Arrow’s Music, Masks And Poems. Elegantly defined, epiphany-laden, thoughtful and instrumentally rich, it’s fair to say there were few more assured debut LPs released, not just in Wales, but in the whole God damn world!

Both the LP, and Little Arrow more broadly, are beneficiaries of sensitive ears to the folk tradition, old and new. At points the female harmonies around Williams Hughes’ main vocal line conjure reminiscences of Beverley and John Martyn. At others, the melodics and pastoral imagery echo the contemporary arrangements of Bowerbirds. And throughout all of it, the songwriting feels like a more believable re-imagining of Johnny Flynn’s rustic approach to the genre.

Of course, those ‘in the know’ are familiar with Hughes from his fondly remembered time in cult Cardiff indie legends Frederick Stanley Star. Nevertheless, even those ‘in the know’ had to be surprised by the rich and resonant depth both that the LP exuded, and that their live shows continue to demonstrate. Indeed, one of this year’s live musical highlights was catching a mesmerising acoustic show in the delightfully miniscule setting of Thé Pot. There, completely unplugged, unfurled the kind of sonic massage that makes your lips go all droopy. Impeccably entwined guitar and uke lines, technically perfect and carefully paced percussion, splashes of accordion, harmonica and more. And before that all stood multiple vocal harmonies dispensing lyrical wisdoms that only the wild West of Wales can seemingly inspire. Credit goes both to Hughes for his expansive musical and lyrical palette, and to his bandmates – Daisy Haran, Ben Sharpe, Richard Robinson and Daniel Messore – who precisely bring it all to life.

Despite their absence from the Welsh Music Prize list, on the back of their output so far, Little Arrow’s arc is aiming at the moon. A recent slobberknocking SWN show, and the promise of recently published snippets ahead of the imminent second LP, rightly give us all cause to suffer a bout of anticipatory ear shivers. New track Meadows particularly has all of the excitement of the early Devendra Banhart demos; Hughes’ vocal quivering with the beauty of a slowing moth’s wing, while the lyrical content weaves fittingly into the ember-glowing, campfire warmth of the acoustics.

With a release date planned for December, that album launch may well be something utterly special indeed. - The MMP

SWN day three kicked off for this reviewer with an earlier than thought possible trip to Gwdihw to see Little Arrow. Last night had brought enough revelry to mean Saturday morning became a rather bleak place. The warm Gwdihw welcome, however, relieved this internal tension; the remedy being a massive brownie, delightful coffee and, by joves, even the rarest SWN commodity – a seat.

Such is the venue’s size that the audience were natural spectators to an awkwardly voyeuristic soundcheck. But kicking off with new track Our Taste Is Violence, all intricate uke lines, enmeshed vocals and rich, earthy wisdom, it was easy to tell when the real set had started. The layer-upon-layer nexus of voices gives these tracks a very communitarian and human depth, as though they were drawn from an ancient shared knowledge handed down through generations. It helps that, as a unit, Little Arrow seem to exist almost symbiotically; each element lending further weight to the other in an ever-unfolding circular narrative of technical brilliance.

With their sound slightly more electrified than on record, it was pleasing that the dynamicism and attention to detail wasn’t lost in bluster. Indeed, on Volcano the electric edge offered new momentum to push its anthemic qualities even further to the fore. But it’s the quality of songwriting that still bursts through more clearly than anything else. Melodic but not obvious; intelligent but unpretentious; spacious but intense. It’s a motherflippin’ musical paradox! And it’s also a rather beautiful way to fully recover from a hangover. - The MMP

On this frozen night, Little Arrow effortlessly created the best summer festival moment you’ve never had. Songs hewn from the soil and the sea, crafted from little more than heartstrings and straw, became rousing sing-alongs perfect for the campfire.

Their irresistibly rich four-part harmonies joyously demanded your participation, whether you knew the words or not, and songs like Boat and People of the Volcano immediately seemed like old friends.

“Here it is, embrace your freedom.” they sang, and you felt like you had done just that, simply by joining in.

Possessed by the same earthy lust for life as Mumford and Sons, they deserve to follow the same path to success – along the scenic route and open to the elements, of course. - Wales Online

On this frozen night, Little Arrow effortlessly created the best summer festival moment you’ve never had. Songs hewn from the soil and the sea, crafted from little more than heartstrings and straw, became rousing sing-alongs perfect for the campfire.

Their irresistibly rich four-part harmonies joyously demanded your participation, whether you knew the words or not, and songs like Boat and People of the Volcano immediately seemed like old friends.

“Here it is, embrace your freedom.” they sang, and you felt like you had done just that, simply by joining in.

Possessed by the same earthy lust for life as Mumford and Sons, they deserve to follow the same path to success – along the scenic route and open to the elements, of course. - Wales Online