Lewis Pugh (Image: Louise Westbrooke)
It’s always a good sign when a support act entices you to check out their recorded output, and Lewis Pugh managed to reel me in following his appearance supporting The Long Ryders at Leeds Old Woollen in September 2026.
And it turns out Lewis Pugh has quite some back catalogue of music, which itself reels in a lot of important but largely forgotten historical events from the last couple of centuries.
Lewis Pugh
Lewis Pugh and guitar (Image: Emily Jessica Almond)
Born into a family steeped in folk music Lewis Pugh has been immersed in roots music from an early age. With a detour into punk and metal he played in various bands from the tender age of 12, before gradually returning to his roots, this time lacing a country, folk and bluegrass sound with a direct political conscience.
Building up a bedrock of music, which I will cover further below, Pugh has also established a notable reputation for powerful live performances. He has built his craft with support slots for like-minded artists such as The Legendary Shack Shakers, The Mary Wallopers and Ferocious Dog, whilst hitting legendary Yorkshire folk venues (Bradford’s Topic Folk Club, Otley Folk Club) and the festival scene (Maverick Festival, Orwell Bluegrass Festival, Hexham Bluegrass Festival and Strummer Camp).
In between albums there have been many singles & EPs, often raising money for homeless outreaches or food banks.
The Solo Albums
Lewis Pugh (Image: Elliot Wright)
Lewis Pugh has so far released four main solo albums across a time span that commenced with his debut album of 2018, Dog Songs, and running to the 2026 album, Heretics & Heritage.
In addition a project with Ian Blackburn and others under the moniker The Burner Band has also spawned a couple of album releases which I round up later, in addition to a new touring project (Barratt, Broad & Pugh) as I work back through his solo work.
Heretics & Heritage
Released in April 2026, Lewis Pugh’s fourth and most recent solo album saw him record a 12 song collection of mostly self-penned folk songs.
Whilst performing the lion’s share of instrumental duties himself (banjo, guitar, snare drum, double bass) Lewis has drawn on some renowned bluegrass musicians (‘Newgrass’ outfit The Often Herd’s Evan Davies and Niles Krieger help out), folk musician Vince Cayo, Chris Wallum, Lewis Beresford, Ian Blackburn, and Steven Hicken Jr. from The Burner Band.
As with earlier release Bullets For Bread, Pugh again draws from a well of history dipped in suffering.
“Anna Haslam” paints a picture of Haslam, who was Pugh’s great aunt as well as a suffragist and a major figure in the 19th and early 20th century women's movement in Ireland, as a Celtic melody drifts its way around the track.
Similarly the working class struggles of Ed Pickford’s “They Can’t Put ‘Em Back”, the bluegrass infused lament of “Beaufort County Jail” with Hicken’s wailing pedal steel, sit proudly with the uplifting “Until the Wolves” and accordion-flecked “Stolen Angels”.
Despite the suffering embedded in the dusty pages of social history he turns, there’s a rich and beautiful sonic tapestry in play—folk, country and bluegrass rub shoulders with an alt-punk attitude as Lewis’ vibrant vocals wonderfully narrate the story.
Indeed, “The Ballad of Robert Smalls” leans into a sea-shanty rhythm, wringing incredible force from a stark, a cappella vocal as it spins its tale of Civil War defiance.
It’s a cohesive and mature set of crafted songs that shine a light into many uncomfortable times whilst ensuring the illuminating music doesn’t leave the listener in the dark.
Tracklist:
Big Stone Lifter 02:40
Blue Lady 03:26
Beaufort County Jail 03:02
Holes 02:37
They Can't Put 'Em Back 02:50
The Ballad of Robert Smalls 02:10
Anna Haslam 04:18
Until The Wolves 02:51
Stolen Angels 02:41
Bertie's Song 03:25
The Ballad of Maria Marten 03:34
Shotgun Billy 03:28
All songs except 5 by Lewis Pugh.
5 written by Ed Pickford.
11 traditional lyrics.
Musicians:
Banjo, Martin guitar, double bass, snare, vocals by Lewis Pugh
Mandolin: Evan Davies
Fiddle: Niles Krieger
Accordion & whistle: Vince Cayo
Pedal steel: Steven Hicken Jr.
Electric guitar on 1 & 3: Chris Wallum
Snare on 1 & 11: Lewis Beresford
Double bass on 1 & 3: Ian Blackburn
Recorded and produced by Lewis Pugh.
Mixed & mastered by Grant Henderson, Loom Studio.
Tao Banjo
August 2025 saw the release of something of a departure for Lewis Pugh. The instrumental Tao Banjo, with a heavy emphasis on the banjo, represented an experimental ‘post-rock’ album, so sits alongside his regular solo output.
Set across 9 parts, it’s a laid back sonic palette of gently plucked banjo underpinned by textural synths and shimmering percussion. Steven Hicken Jr’s distant but omnipresent pedal steel on “Part 1: Tao Banjo” lays down a blueprint for the whole album across its duration of over eight minutes.
As similarly long “Part 2: Banjo Lullaby in F” builds its way to a crescendo of sorts with its chiming guitar overlays, you are soon drawn into the enveloping mood.
It may be understated and laid-back, but as the repetitive and insistent melodies of “Cosmic Sawmill” and “Meadow of the Pale Flower” show, it also quietly carves out something of a jagged edge.
“Cosmic Love” furthers this—its relatively guitar heavy zenith adding some heft and forecasting the climate mood change of “Celestial Storm”.
“Reborn” shows a sweeping grandeur from the outset—its steady and gradual opening section with some vocals scattered into the mix, pivoting at the half way point with calypso effected guitar textures as it makes its way to its conclusion.
The gently plucked “Cosmic Appalachia” and trippy but uplifting “Psychic Love” bookend the album gloriously.
It’s an album to savour delicately rather than devoured. Sipped rather than gulped.
Grab a quiet room, some headphones and gently immerse yourself in its soothing but persistent splendour.
Tracklist:
Part 1: Tao Banjo 08:20
Part 2: Banjo Lullaby in F 08:50
Part 3: Cosmic Sawmill 04:18
Part 4: Meadow of the Pale Flower 07:17
Part 5: Cosmic Love 02:50
Part 6: Celestial Storm 05:29
Part 7: Reborn 08:21
Part 8: Cosmic Appalachia 03:48
Part 9: Psychic Love 02:52
Pedal steel on Part 1 by Steven Hicken Jr.
Bullets For Bread
Bullets For Bread saw Pugh provide the ammunition to realise the potential his previous output had been building up to.
Released in September 2024, Pugh handled most of the album’s instrumentation (Steven Hicken Jr. and Niles Krieger added pedal steel and fiddle respectively) brilliantly amplifying the social conscience his lyrics vocalised.
It feels very much like a classic alchemy of folk, country, blues and punk and despite the historical nature of much of its content, there is an ongoing and modern relevance to many of the themes and topics covered.
Accordingly, across its ten tracks, with a taut economy of delivery, “The Battle of Holbeck Moor” roars out of the traps, rinsed with the Celtic fervour of The Dropkick Murphys and the fascist baiting of Woody Guthrie.
There’s no let up on “I Am A Union Man”—its West Yorkshire based narrative championing the “NEU” and its burgeoning strength and support to local teachers.
“Violet Gibson” strips things back, dominated by a vocal smudged with strummed banjo and military drumming as he recalls the Irish woman who attempted to assassinate Benito Mussolini in 1926.
Standout track, “The Featherstone Massacre” powerfully remembers the atrocities which took place during the miner’s lockout in Featherstone, West Yorkshire on 7th September 1893; the watershed moment in the dispute when two miners, James Gibb, 22, and James Duggan, 25, were shot dead by the army.
“The Ballad Of Emily Swann”, another strong and moving song, tells the true story about Swann, from Wombwell, South Yorkshire, who was arrested and hanged in Leeds for the murder of her abusive husband. She was hanged along with her lover, John Gallagher, in 1903, the song’s chorus based on the last words they exchanged at the gallows (“Are we going below? Or to heaven above?”).
Moving into newer times, albeit still 50 years ago, “Nae Pasaran” (They shall not pass) champions the group of workers at a Rolls-Royce factory in East Kilbride, Scotland, who refused to work on Chilean Air Force parts from 1974-78 due to the atrocities carried out in Chile by the Pinochet dictatorship.
“Swinging on a Rope” with its harmonica breaks recalls the Seeger Sessions of Springsteen, before the wistful pedal steel of “Invisible Regiment” backed with an earnest vocal from Lewis, helps carry the song’s anti-war sentiment, highlighting the oft overlooked PTSD consequences of war.
As “Rich Preacher” picks up its pace, driven by its fiddle and banjo motifs and heavenly “We will rise” chorus it draws the curtain on a powerful set of engaging and deeply historically important and insightful songs.
Tracklist:
The Battle of Holbeck Moor 03:13
I am a Union Man 02:33
Violet Gibson (Remember My Name) 01:53
Featherstone Massacre 03:53
The Ballad of Emily Swann 03:48
The Biggest Dig 02:33
Nae Pasaran 03:24
Swinging on a Rope 02:14
Invisible Regiment 04:18
Rich Preacher 02:46
Recorded at Pugh Productions, 2023
Mixed by Grant Henderson, Loom Studio
Musicians:
All songs & instruments by Lewis Pugh apart from:
Steven Hicken Jr. - pedal steel
Niles Krieger - fiddle
Dark Wheels Turn Above Our Heads
A further four years back September 24, 2020 saw Pugh release Dark Wheels Turn Above Our Heads.
It followed his 2018 debut album, Dog Songs, and saw him develop further as a songwriter, whilst also utilising his expansive musical abilities.
Widening his outlook both politically and internationally tracks such as the title song and “American Spirit” tackle the weight of global socio-political tension, while “Paulo Paulino Guajajara” honours the murdered indigenous defender of the Amazon Rainforest.
But his roots remain strong—the Joe Solo collaboration “Love Across The Water” and settings of David Holmes' “Rebel Poet” verses in “Proud England” keep the flames of local solidarity flickering.
Overall it’s an album where personal hardship and global resistance start to co-exist together powerfully in Lewis’ songwriting canon.
Tracklist:
Dark Wheels Turn Above Our Heads 02:39
Common Wealth of Toil 02:25
American Spirit 02:59
Brighter Ones 03:00
Love Across The Water 02:33
(You've Been) Laughing In My Dreams 03:28
No More 02:13
Proud England 01:57
Let It Burn 02:30
We Build Big Brands 02:07
Paulo Paulino Guajajara 02:23
Lyrics for 'Common Wealth of Toil" by Ralph Chaplin, 1910 (Arrangement by Lewis Pugh). Lyrics to "Brighter Ones" and "Proud England" written by David "Rebel Poet" Holmes. Lyrics to "Love Across the Water" by Joe Solo
Musicians:
All songs Lewis Pugh. Guitar, banjo, double bass and snare by Lewis Burner. Additional vocals on "Dark Wheels" and "American Spirit" by Sarah Birkett-Pugh. Additional vocals on “Love Across The Water” by Joe Solo. Fiddle on "Love Across the Water" by Ian Blackburn.
Dog Songs
Lewis Pugh’s debut album was released on April 6, 2018 and was recorded with a sterling set of musicians who helped flesh out his musical vision.
It’s a diverse debut, its 10 songs (9 originals and a song by Billy Ed Wheeler) showcasing his musical versatility (drums, bass, banjo, harmonica as well as vocals and guitar) as well as his blossoming insightful lyrical introspection.
The songs have a real retro vibe—opener “You Can Cry” lays down a 50s drum beat with harmony vocals over its banjo infusions. “Without A Trace” aches its way through a classic old time country lament, strained vocal harmonies colouring the blues it depicts and the banjo riffing of “Dead King” leave you in no doubt of where things sit.
There is also a poignant tribute to the victims of the 1985 Bradford City Valley Parade fire tragedy (“Fifty Six”) for which Lewis’ wife Sarah contributed the heartfelt lyrics and harmony vocal.
The album re-enters a firm Americana trajectory with songs such as “Glory Bound” heading down the highway at pace, “Coal Tattoo” recalling Uncle Tupelo and “One Way Ticket” going all 50s rock and roll with its honking sax, which sticks around to add further power to the lilting and swaying calypso of “Got All I Need”.
“Outlaw” serves a fiddle-heavy hoe-down nod to an outlaw from the wrong side of town, before “Dog Song” and its twelve bar lament, weaves in some cajun flavoured accordion for a fitting rock and roll riposte.
It’s a lively debut which lays a rich groundwork for everything that followed.
Tracklist:
You Can Cry 03:33
Without a Trace 03:10
Dead King 02:37
Fifty Six 03:33
Glory Bound 04:39
Coal Tattoo 02:50
One Way Ticket 02:35
Got All I Need 02:52
Outlaw 02:27
Dog Song 03:44
Engineered by Grant Henderson, Loom Studios, Leeds
Musicians:
Sarah Birkett-Pugh - harmony vocals throughout
Mark Pugh - lead banjo on tracks 1, 3 and 9
Martyn Roper - double bass on tracks 5 and 7
Samuel James Thornton - sax on tracks 7 and 8
Chris Dylan Lloyd - piano on tracks 4 and 7, accordion on track 10
Allan Birkett - electric guitar on track 5
Kieran O'Malley - fiddle on tracks 9 and 10
Ian Blackburn - fiddle on track 2
The Burner Band
Pugh also plays with The Burner Band, a five piece country and rock 'n roll band, featuring pedal steel and electric guitar, who have released two full length records on Shed Load Records.
The Burner Band at Maverick Festival 2025
Age Of The Liar
Most recent offering, Age Of The Liar, was released in 2023.
Leaving behind the pure folk intimacy of his solo work, Age Of The Liar lets Pugh and co-founder Ian Blackburn lean heavily into high-octane honky-tonk and rockabilly, as it dials up the distortion, electric twang, and driving rock 'n' roll tempo.
The album artwork also tells more than a picture—it was created by JD Wilkes of the excellent Kentucky band The Legendary Shack Shakers, who plough a similar retro Americana furrow to The Burner Band.
It is a release worth checking out, from the effervescent opening song “Saint Boy”, the reggae tinged “Living In Fear”, recent single “Dark and Lonesome Street”, and the catchy “Hot Dog King” and its ode to famous NY hit dog vendor Dan Rossi, a current highlight of Pugh’s solo live set, through to “Won’t Own Me” and pop sensibility of “People Everywhere” the record firmly plants The Burner Band alongside the best of modern alt-country revivalists.
Tracklist:
Saint Boy 03:05
Living in Fear 02:37
Dark and Lonesome Street 02:37
Hot Dog King 02:45
Strange Things 03:03
Big Hole 03:12
Age of the Liar 03:36
Sertraline 02:41
Won't Own Me 02:55
People Everywhere 03:05
Signs & Wonders
The band’s debut album, hit the shelves in September 2021 and served up an engaging cocktail of blistering country infused rock.
Dialled back largely to the core duo of Pugh and Blackburn (with pedal steel flourishes from Steven Hicken Jr. and Tim Howard), it captures a raw, authentic energy.
From the driving rhythm of “Company Man'“to the dark tales of “Voodoo Queen” and “You, The Devil & Me”, it romps, stomps and lays down a feral honky tonk calling card for their signature punchy sound.
Tracklist:
Blues Came In 02:21
Block Out The S*n 02:36
Company Man 02:09
It Takes Two 02:55
You, The Devil & Me 01:57
Search Deep, Find Out 02:33
Voodoo Queen 03:03
Don't Have To Listen 01:41
Pray For The Light 02:07
Too Much Blues 03:17
Signs & Wonders 02:20
All songs written by Lewis Pugh & Ian Blackburn. All instruments by Lewis Pugh & Ian Blackburn except pedal steel by Steven Hicken Jr. on 3 & 11 and Tim Howard on 5. Lyrics to 7 by David ‘Rebel Poet’ Holmes.
Recorded and mastered by Grant Henderson, Loom Studio, Leeds.
Barrett, Broad & Pugh
With a shared kinship dating back to the early 2000s, Lewis Pugh has a new project formed with David Broad and Sam Barrett on which they are united with a love of folk, blues and country music.
Featuring songs both written by the trio as well as traditional numbers, they are currently showcasing their collective talents in a live setting as Barrett, Broad & Pugh (see dates and Lewis Pugh solo shows below) and have plans for this to develop this further in 2027.
Shining A Torch On The Past
Folk Troubadour Lewis Pugh (Image: Elliot Wright)
Since 2018 Lewis Pugh has recorded an impressive body of material.
Almost like a modern day Harry Smith who compiled the legendary Smithsonian Anthology of American Folk Music, Lewis Pugh is breathing life and depth into many forgotten stories and incidents from life over the past couple of hundred years, imbued with a timeless and classic sound steeped in equally historic country, folk, blues and rock and roll.
It’s a compelling and distinct take on roots music for sure, but one that earns him a vital seat at the table of modern folk.
Like this? Read my review of Lewis Pugh supporting The Long Ryders at the Old Woollen, Leeds, 10th October 2026 here.
