Brooke Combe at Saint Luke's

Brooke Combe was outstanding at Saint Luke's on Friday night, the first of 2 sold out shows in the gorgeous venue. Brooke's smile radiated warmth, her banter was good fun and her voice was exceptional. She is a super cool n soulful lass! 

Combe's star is rising on the back of her outstanding single How Can I Tell You? (blog) that she released last year. It's lifted her and the follow up Tears Don't Lie is of similar quality.

In her mid-20's, Combe started to release her music independently via Modern Sky, following a spell with Island. It was Island's loss and Brooke's gain. She worked with James Skelley from The Coral to produce her 2025 album Dancing On The Edge Of The World and isn't letting up.  Brooke has just signed to Fontana Records and is ready to go to the next level.

There is no doubt that How Can I Tell You? has won her more fans. It went kinda viral on Instagram when Brooke posted rehearsal clips of her singing it, then the northern soul inspired video took it even further.

Backed by a tight band encompassing guitar, bass, backing vocals and percussion, keyboard and drums, Combe and co wowed the packed Saint Luke's with a stunning upbeat set that lifted everyone in the room.

Combe looks and acts like a star. Super lithe, shades on her head, cool Levi's, dancing about the stage, shadow boxing, playing guitar, banging her tambourine, playing air drums and she has a smile that radiates warmth. 

The set was split in 3, with the opening segment including; This Town as an early banger, A-Game was sublime and Black Is The New Gold was sultry. 

Combe then had the confidence to send her band off stage, leaving just her and guitarist Danny Murphy to performing two new songs; Piece of Me and It's Not Over, both bode very well for her next album and the latter in particular will sound good when fleshed out with a full band (and strings?).

Tears Won't Lie sounds like it has been lifted from the Motown vaults, a lost Supremes/Diana Ross single. Persistent piano, Combe's strong voice and cool Motown beats for the bridge to the chorus. Three minute of soul pop brilliance.

A powerful Dancing At The Edge of the World led to an encore that began with someone from the audience beginning to sing Yes Sir I Can Boogie. World Cup fever is starting and Combe and Murphy played a short stripped back version that was greatly appreciated.

Grabbing a Scotland flag from a fan in the front row, Combe knotted it round her to sing a fantastic rendition of her song The Last Time, followed by a crowd singing lesson for the backing parts of How Can I Tell You? Then the band and Brooke ripped into it, ending with Combe up on the barrier to the delight of the crowd.

Combe has the songs, the look, the voice, soul and she now has the right record label. Strap in for the ride.

How Can I Tell You (To Love Me More)

Trust me #104
How Can I Tell You (To Love Me More) by Brooke Combe

Last week a short video appeared on my Instagram feed of the singer Brook Combe in a rehearsal room singing her new single How Can I Tell You (To Love Me More) with the teaser - Any1 else wish the charts still sounded like this?

A glorious bust of the chorus drew me so deeply that I immediately checked if she was playing live and bought 2 tickets for her Saint Luke's show in December - before hearing the full song!

Brooke Combe burst on to the Scottish music scene in 2023 with the release of her mixtape Black is the New Gold , following that with debut album Dancing at the Edge of the World earlier this year, produced by James Skelly of The Coral. 

Truth be told, I've seen Brooke's name around but never took the time to check her out. That is part of the problem with so much music being instantly accessible in today's day and age.

How Can I Tell You (To Love Me More) is beautifully pure euphoric soul music. A jaunty piano over strings introduces the song, Combe doesn't hang about - it's a 2 line verse and then a 2 line bridge into the chorus. 

If you only knew

What your silence put me through

The bridge turns things up a notch;  

How it feels when you let me down

Said you care but you don't know how

Combe's voice is stunning, rising effortlessly for the chorus. After the second verse, bridge and run through the chorus I love when she sings oh baby to start the chorus all over again. Warm tingles run down my spine. 

Baby, how can I tell you, how to love me more, if you don't try?

Baby, how can I tell you, how to love me more, if you don't try?

How can I tell you?

Why should I beg you?

I'm enjoying digging through Combes back catalogue and it was fantastic to see so many other people I follow on Social Media also enjoying this fantastic single. It's no surprise to see that Brooke's show at Saint Luke's is now sold out.

How Can I Tell You (To Love Me More) is added to my Trust Me playlist; search fplaylistor Everything Flows - Trust Me on Spotify or CLICK HERE. Check below for all previous blogs in my Trust Me series.

You can also check the northern soul influenced video below;

Previous Trust Me blogs

1. Something On Your Mind by Karen Dalton

1A. Crimson and Clover by Tommy James and the Shondells

2. I Am, I Said  by Neil Diamond

3. Where's The Playground Susie?   by Glen Campbell

4. If You Could Read My Mind by Gordon Lighfoot

5. Gimme Some Truth by John Lennon

6. Gone With The Wind Is My Love by Rita and the Tiaras

7. In The Year 2525 by Zager and Evans

8. The Music Box by Ruth Copeland

9. The Ship Song by Nick Cave

10. Sometimes by James

11. I Walk The Earth by King Biscuit Time

12. Didn't Know What I Was In For by Better Oblivion Community Centre

13. When My Boy Walks Down The Street by The Magnetic Fields

14. The Man Don't Give A F**k by Super Furry Animals

15. All Flowers In Time Bend Towards The Sun by Jeff Buckley and Liz Fraser

16. Are You Lookin' by The Tymes

17. A Real Hero by College & Electric Youth

18. Feelings Gone by Callum Easter

19. Sunday Morning by The Velvet Underground

20. Did I Say by Teenage Fanclub

21. Don't Look Back by Teenage Fanclub

22. Your Love Is The Place Where I Come From by Teenage Fanclub

23. Belfast by Orbital

24. Clouds by The Jayhawks

25. Dreaming Of You by The Coral

26. Everlasting Love by Love Affair

27. Walk Away Renee by The Left Banke

28. Teenage Kicks by The Undertones

29. Shaky Ground by Sneeze

29. Rill Rill by Sleigh Bells

30. I Can Feel Your Love by Felice Taylor

31. The State We're In by The Chemical Brothers w/ Beth Orton

32. Sunshine After The Rain by Ellie Greenwich

33. Losing My Edge by LCD Soundsystem

34. Mondo 77 by Looper

35. Les Fleurs by Minnie Riperton

36. Rat Trap by The Boomtown Rats

37. How High by The Charlatans

38. I Can't Let Go by Evie Sands

39. Pop Song 89 by R.E.M.

40. Summertime Clothes by Animal Collective

41. There She Goes by The Las

42. We're Going To Be Friends by White Stripes

43. Autumn Sweater by Yo La Tengo

44. Sister Rena by Lomond Campbell

45. Revolution by The Beatles

46. Lazarus by The Boo Radleys

47. Wrote For Luck by Happy Mondays

48. American Trilogy by The Delgados

49. Loser by Beck 

50. Silent Sigh by Badly Drawn Boy

51. Comedy by Shack

52. Take The Skinheads Bowling by Camper Van Beethoven

53. Freakscene by Dinosaur Jr

54. Thank You For Being You by The Pastels

55. I Think I'm In Love by Spiritualized

56. Chestnut Mare by The Byrds

57. Cannonball by The Breeders

58. Like A Rolling Stone by Bob Dylan

59. You Make Me Weak At The Knees by Electrelane

60. Lucky by Radiohead

61. Strange Currencies by R.E.M.

61. I Am The Cosmos by Chris Bell

62. Like A Ship (Without A Sail) by Pastor TL Barrett and the Youth for Christ Choir

63. Nothing But A Heartache by The Flirtations

64. Made of Stone by The Stone Roses

65. Tonight In Belfast by Orbital, David Holmes, DJ Helen and Mike Garry

66. Anything by Adrianne Lenker

67. I Hold Something In My Hand by Bill Ryder-Jones

68. I Meant Every Word by Burnett Sisters

69. Dream Baby Dream by Suicide

70. Stove by The Lemonheads

71. Red Lady by Phil Cordell

72. Little Fluffy Clouds by The Orb

73. I Can Do It With A Broken Heart by Taylor Swift

74. Turnin' My Heartbeat Up by The M.V.P.'s

75. Razzle Dazzle Rose by Camera Obscura

76. Such Great Heights by The Postal Service

77. The Rat by The Walkmen

78. My God Has A Telephone by Aaron Frazer

79. Unfinished Sympathy by Massive Attack

80. Sweet and Tender Romance by The McKinleys

81. Hoppipolla by Sigur Ros

82. 69 Police by David Holmes

83. Hey Lisa by David Holmes

84. I Am A Rock by Simon & Garfunkel

85. Kung Fu by Ash

86. Kids by MGMT

87. Slight Return by The Bluetones

88. Give Peace A Chance by John Lennon / Plastic Ono Band

89. Cut Your Hair by Pavement

90. Race for the Prize by The Flaming Lips

91. Waitin' for a Superman by The Flaming Lips

92. Acquiesce by Oasis

93. This Is Music by The Verve

94. Lone Swordsman by Daniel Avery

95. Sparky's Dream by Teenage Fanclub

96. Common People by Pulp

97. Let Our Love Grow Higher by Eula Cooper

98. Regret by New Order

99. Keep On Keepin' On by Nolan Porter

100. Sit Down (Live at G-Mex) by James

101. Never Lose Your Sense Of Wonder by Yeti

102. Just When You're Thinkin' Things Over by The Charlatans

103. Life Is Sweet by The Chemical Brothers

Shack at Saint Luke's Glasgow

As someone who has been attending gigs in Glasgow for over 30-years, you kind of know when you're witnessing something special. Last night was special. Grown men shed tears as they watched brothers Michael and John Head perform together as Shack, the legendary Liverpool band that emerged from the ashes of The Pale Fountains, played the wonderful Saint Luke's in the East End of Glasgow. 

Shack have reunited for a quartet of shows in Liverpool, Glasgow, Manchester and London. Their first shows since 2010.

Gerry Love played a beautiful stripped back show in support. Playing as a 3-piece with Noel O'Donnell on acoustic guitar and harmonies, and Tom Crossley on keys, effects and xylophone, the trio delivered some gorgeous dreamy versions of songs that included Sweetness In Her Spark, Star Sign, Don't Look Back and Ain't That Enough. Gerry also played a new song that I've heard a few times over the last couple of years, a tantalising glimpse from his long awaited album.

Star Sign was particularly stunning with Gerry using a phaser pedal for a lovely warm psychedelic fuzz feeling. I hope someone captured this.

On to Shack!

I don't think I have ever seen Saint Luke's so busy. There was a heady sense of anticipation as people crammed in to every nook and cranny. Thankfully we had got in early to secure a space upstairs on the balcony, to Michael Head's left. 

What a band. The rhythm section were super tight and cool. Peter Wilkinson (who joined at the age of 19 , has also played with Echo and the Bunnymen and was a founder member of (and is still in) Cast) on bass, holding it all together, keeping the groove. Ian Skelly (The Coral) on drums was super light and loose, cracking his snare when he needed to inject some extra pace, or change the timing, something that Shack (much like their heroes Love) can do with style and ease. Skelly is new to the band, original drummer Iain Templeton died in 2022. 

John Head was on lead guitar, often a gorgeous red semi acoustic, and he made it look easy. Playing fluid and melodic lines and riffs, bending strings at times, shaking his guitar for extra effect at others. 

Michael (Mick) Head was on acoustic rhythm and from our vantage point (almost directly) above I got a brilliant view of his unique style. No plectrum. Using his thumb on the downstroke and either picking on the up, or using 2 or 3 fingers for extra effect. Sometimes he almost banged his strings like percussion. 

As a (very amateur in comparison!) guitar player, I was pretty enthralled by both. They never looked to be playing anything too complex, but it sounded majestic. The way electric and acoustic combine is a sound I'll never tire of. 

Nathaniel Laurence (who plays with Mick in his Red Elastic Band) flushed out the sound, standing behind Wilkinson and adding extra deft touches/effects or rhythm to the Head brothers guitars. 

The 5-piece became 6 at times when they were joined by a Martin Smith on trumpet. Smith may well have been having a better time than anyone else in the room! When he wasn't playing, he was dancing and singing at the back of the stage. It was so lovely to watch.

So what made last night so special. What makes Shack so special?

Well, the songs, the storytelling, the twists and turns in the structure and timing, the hooks and the way that Michael Head’s voice, that natural mix of weariness and melody connects with people.

Add in the fact that the band are super tight ... it was magical. They really connected with the audience and took them on a wonderful trip through highlights from their catalogue, with some of the instrumental sections sounding like heaven - psychedelic and shimmering.

Meant To Be was euphoric, with the passionate crowd (a joyful mix of Glaswegians and Scousers) singing-a-long to the trumpet in the instrumental section, things then slow and soar as they come out of it, there is a sublime example of the acoustic and electric combining.

Jamer's on the run

Shooting stuff for fun

All in all his melody

Comedy was my song of the night, it bursts into life and feels so natural, so uplifting and beautiful. I'd played it in the car earlier on and my 77-year old Mum loved it! 

It's a great song on record, but live, it goes to another level. The whole room sang the hook along with Mick and it was incredible. Emotional.

When you cry it pulls me through

Streets of Kenny was emotionally charged and then Shack came back on for an encore of Love's A House Is Not A Motel. that was just perfect, as their sound owes so much to their love of Love.

Surely Shack will announce a bigger Autumn tour! 

I hope so.

Kerr Mercer at Saint Luke's

"I started off the year playing to 100 of you at the Poetry Club. Then 300 at King Tuts and now ... now 600 of you are here with me in Saint Lukes ... it's mad ... Thank you so much."

Kyle Mercer was visibly moved on stage at Saint Luke's in Glasgow last night. No wonder. Just over a year ago Kerr was the opening act in the venue for Tenement Trail. I was fortunate to catch him on that wet and windy day last October and you would have been lucky if there was a tenth of last nights crowd in.

Since then Kerr (only 18) has been gigging heavily, picking up loads of support slots across Glasgow and beyond to build his experience. Something he also highlighted on stage.

"Thanks again for coming. I nearly came on stage at 7.30 tonight as that's when I'm usually on."

There is a lovely dash of humility and cheek about Kerr when he chats between songs. He took the time to record a video message to a fan who had unfortunately dislocated her knee (after arriving early at the venue) and missed the show, also promising to put her on the guestlist for his next Glasgow show. 

And he also half-joked about seeing us all at the Barrowland (across the road) next year. That seems the next logical step up for the teenager who has yet to release his debut single. Kerr also promised us that was coming soon and that he didn't want to be the person that played 7 million gigs without releasing something.

Having followed Kerr's journey and heard him introduce lots of new songs to his set, in addition to keeping some firm favourites, I am intrigued to see what he goes with. It could have been any single one from last nights set!

Kerr was on stage at 9pm sharp, opening with a song that may or may not be called I'll Be Your Soldier. His voice soared effortlessly, he was straight into it, absolutely incredible.

Jealous followed. I mentioned earlier on that Kerr was moved on stage, now his songs and voice were moving people in the audience. Gazing around, you could see people nudging their friends and nodding as Mercer stretched his vocal chords to really go for it. The melody already sounds familiar, this could be coming out of your radio next year.

Waves was another new song that I hadn't heard before, the chorus and lyrics seem instantly relatable. Petals generated an incredible response from the crowd with Kerr's guitarist also playing a kick bass drum which encouraged the audience to clap along. 

Die While I Remember and One In A Million were more mellow, tugging on heartstrings in all the right ways. Mercer's songs have a beautiful, soulful and melancholic feel to them. There is a sadness, but there is a very powerful connection between him and whoever is watching him sing. It's quite something to witness and feel.

Adam Frame was excellent on guitar, allowing Kerr to switch from standing up to sing some songs, then sitting behind his electric piano for others. The two work so naturally together. It feels like a treat to hear these songs played in this way and to see them work so effortlessly together.

Given the fact that Kerr has yet to release anything, Mercer had asked his Instagram fans to choose a cover for him to play and they voted for Sabrina Carpenter's ace Please, Please, Please, a big favourite in our house. The pure pop song was stripped back and sounded sublime.

Carry Me Home was introduced as being 'the only song that I wrote when I was 15 that I still play, the rest were all sh*te' and as Kerr started, while sat at his electric piano, a mini choir of 3 backing singers came on stage to join him. They were definitely backing! As Kerr's voice soared, they were almost redundant. But when Mercer's voice dropped a little, you could hear what they were adding to the song and it was quite beautiful. I left the show imagining how massive this song could sound when (if it hasn't been already) it is recorded in the studio. Strings and choir ... oooft. It will be huge.

Closing with Never Be You, with the choir backing him and the crowd clapping along, my wife and I left to pick up our car round the back of the Barrowland and we both felt like the next time we see Kerr in Glasgow he could be playing there. 

Kerr has sold out his first headline tour; playing Birmingham, Bristol and Manchester in the week ahead. Keep an eye on his Instagram.

Easy Life at Saint Luke's Glasgow

On Wednesday night I headed to the beautiful Saint Luke's in Glasgow's East End to see a band called Easy Life at the recommendation of one of my best friends and his 17-year old daughter.

Ella had introduced Phil to the band and they have followed them as they move up the venues in Glasgow; starting at Broadcast, on to King Tut's and then to a sold out Saint Luke's.

Based on the evidence of Wednesday night the next stop will be the Barrowland Ballroom.

I was thoroughly impressed, the band were tight but loose, they connected brilliantly with the crowd who knew every word and it is a long time since I have seen a crowd jump about with wild glee. It took me back to being 17 and discovering bands and being swept off my feet while jumping and singing.

Phil and I watched from the balcony as the young crowd went crazy and it was brilliant to see Ella and Phil sharing their passion for the band on the way home. They are going down to see them in Liverpool on Sunday.

I asked Ella to write a guest blog;

GUEST BLOG BY ELLA REDFEARN 

Bouncing, buzz and Buckfast, Easy Life's third gig in Glasgow was legendary. Having previously seen the five piece three time, I didn't think they could get any better. I was proved wrong.

The crowd was buzzing and so were the boys. The music energetic yet chilled. The band played a mix of upbeat and more relaxed songs, with the introduction of new song nice guys a pop/dance fusion.

This band are one to watch out for. It's safe to say they won't be having any 'nightmares' about coming back to Glasgow any time soon...

Camera Obscura at Saint Luke’s

Camera Obscura were heart achingly, heart breakingly beautiful in Glasgow last night. Traceyanne Campbell’s voice was yearnful, soulful and full of melancholic wonder and it was a real treat to see the band performing again.

I can only imagine how difficult the last 4-years have been for Camera Obscura following the tragic death of Carey Lander in 2015 following a battle against osteosarcoma. The love for the band was clearly evident last night, Traceyanne commented how she could feel it. People had travelled from across the globe, Sweden, America and Japan to be there on the second night of the bands comeback. Many had also been there the night before.

All of the proceeds from the night plus a bucket collection went to the Prince and Princess of Wales Hospice in Glasgow and I hope everyone donated the suggested £10 to help a wonderful cause. Traceyanne's speech at one point in the night highlighted how much the hospice meant to the band, family and friends of Carey.

The evening began early with my sister Carla J Easton supporting with a stripped back set as a 3-piece and songs from her album Impossible Stuff were well received along with new song Coming Up Daisies, the sound was superb and although I am biased, my sister's voice was amazing. It was great to see the room almost full and to hear such a positive response to her songs.

Last night was all about Camera Obscura though and they played beautifully. At times it seemed so simple, the beat, the groove and Campbell’s melodies. Heart strings were tugged.

Motown beats with warm guitars, keys/strings, chiming guitars and trumpet with Campbell’s clever, funny and beautiful voice and lyrics sounded heavenly in the truly stunning Saint Luke’s, just round from the famous Barrowland Ballroom.

From the upbeat French Navy that was sung with care by the crowd to the spine tinglingly stunning Razzle Dazzle Rose finale. This was a 90-minute set sprinkled with songs from throughout the bands career that delighted, moved and inspired the crowd.

Next up for Camera Obscura is a trip on Belle and Sebastian's Boaty Weekender. I hope more shows are announced on their return.