Feature: GRTR! Greats – THEA GILMORE
David Randall chatted to Thea Gilmore in February 2025 for Get Ready to ROCK! Radio. This edited version of the interview first broadcast 23 February includes tracks from the album ‘These Quiet Friends’ plus others from Thea’s back catalogue. Part 2 is available at the foot of this feature.
Thea Eve Gilmore – where to start?
When the media, be it print, radio or television, discuss or play the music of British female singer/songwriters, ninety nine times out of a hundred they draw from the well of those better known artists that have had some success – either through their presence in famous bands or those who are more commercially acceptable.
The likes of Sandy Denny, Katie Melua, Norma Jones and KT Tunstall spring to mind in this respect and I do not deny they are all very good at what they do (did) – but where’s Thea Gilmore?
Thea Gilmore has a body of work (nineteen studio albums and counting) that is simply magnificent in its sheer musicality, mix of genres, and hard-hitting, insightful lyricism – that she must be mentioned in the same breath.
And this feature aims to re-balance the sheer unfairness of it all.
Usually described as “file under folk”, nothing could be further from the truth – just because the acoustic guitar is her weapon of choice does not mean she stands there with a finger in her ear.
In fact, much of her music features electric guitar, piano, drums and, especially on recent albums, the use of electronica and spoken word.
GRTR! was in some ways was late to the party, as Thea had already released six albums by the time we caught up – from the bile-spitting debut of ‘Burning Dorothy’ in 1998, through ‘The Lipstick Conspiracies’ follow up with its ‘Parental Guidance Explicit Lyrics’ sticker.
Then there’s (what should have been her breakthrough album) ‘Rules For Jokers’ which featured such wonderful tracks as ‘Holding Your Hand’, ‘The Things We Never Said’ (which includes the line “I lipsticked ‘Fuck You’ on the mirror as a sign of my respect”), ‘Benzedrine’ and ‘Inverigo’.
There was what turned out to be her first shot at chart success, ‘Avalanche’ in 2003 which contained the more commercial ‘Juliet’ and ‘Mainstream’ (ironically) which reached the dizzying heights of #63 in the UK charts – and not a “fol-de-roll” in sight.
As Alan suggests the consistent theme amongst GRTR! reviewers is that Thea is one of the finest singer songwriters of her generation.
Our first album review appeared in 2006 – Harpo’s Ghost when Pete Whalley wrestled with a conundrum: why “after six excellent albums in eight years she is still a stone’s throw from stardom.”
There is a first mention of various life factors which might get in the way of upward momentum: “breaking up with her long-term partner, depression, getting back together and pregnancy. She’s also toured the US relentlessly trying to break Avalanche (her previous album released in 2003). As Pete sums up “By rights she should be a national treasure.”
The follow up - Liejacker in 2008 – suggested a further marketing aim with the States in the crosshairs:
The result is perhaps her most mature piece of work, and one that could well find favour on the other side of the pond. While unmistakeably Thea Gilmore, on a number of tracks I found myself drawing comparisons with Sarah McLachlan whose shooting star has hit an asteroid patch, so there’s an undeniable gap in the market.
Peter Muir reviewed Thea’s gig in May 2008 noting “an array of twenty somethings and middle-aged mums and dads, parked on folding chairs in the sepulchral Radcliffe Centre, a faintly neglected former chapel in the shadows of Georgian Buckingham’s hilltop church.”
Peter also noted a characteristic which would permeate her albums and gigs in the following years, reflecting both professional and inner turmoil “a record label and a manager gone, a first child arrived, some bouts of depression to battle through.”
A few weeks later, in June 2008, Pete Whalley was drawn to his first Thea outing and commented that her vocals and songs “served to underline just what a good live performer she is. It was however striking that the audience was a good one or two decades older than Thea herself.
Now she probably doesn’t mind that … but it is a sad indictment of today’s record buying public that artists as good as Thea Gilmore can’t attract a more contemporary audience. “
In 2009 Thea released what might be called her “seasonal” album – Strange Communion – which brought together a collection of originals and cover versions reflecting the mid-winter period. A strong favourite at GRTR! and perfect companion to mulled wine and mince pies. David Randall reviewed Thea’s Christmas gig in December 2010 (and again in 2013 and 2017).
Quite simply, ‘Strange Communion’ is one of the best seasonal albums you are likely to hear. Mostly original compositions are tinged with Thea’s good cheer, a hint of melancholy and a twist of traditional folk. It’s just the sort of album for taking to your imaginary or real country cottage, toasting around a real log fire and with the snowflakes dancing in the cold wintry air outside.
Around this time, Thea started a trend that continues to the present – direct contact with her fans via her website, offering exclusive songs and content. In 2010 this was called “Angels In The Abbatoir”.
Murphy’s Heart (2010) was Thea’s tenth studio album and as Pete Whalley commented “That’s the sort of milestone that many artists don’t manage in a career, never mind by the time you reach 30.” He noted “perhaps a less commercial offering than some of her earlier output, but all the recognisable Gilmore song writing hallmarks are present and correct – intensely personal and socially aware, largely acoustic based songs – delivered with Thea’s instantly recognisable vocals and insightful lyrics.”
Pete reviewed Thea’s gig promoting the album at Pacific Road, Birkenhead in September 2010 describing “a masterclass in female singer songwriter performance.”
Thea’s great industry in terms of recording was reflected in two releases following in quick succession. And at the same time she gave birth to her second child. Both albums celebrated two artists who influenced her early musical development.
In 2011 John Wesley Harding developed from a track she recorded for a Dylan covers CD in 2002. ‘I Dreamed I Saw St. Augustine’ was widely acclaimed, including by long time admirer Bruce Springsteen, becoming a live favourite and much sought after by collectors.
This led to a 70th birthday tribute to Dylan revisiting his 1967 album which marked his return to his acoustic/folk roots after three electric albums.
Pete Whalley was a little conflicted in his judgment on the album: “as a Thea fan you wouldn’t be disappointed but ultimately you really have to like Bob Dylan.”
The same year Sandy Denny – Don’t Stop Singing was released with the full blessing of the late singer’s estate. Thea took unfinished Denny lyrics and set them to new music. The album would polarize opinion somewhat, sacrilegious to the folk singer’s core fans whilst not really satisfying Gilmore’s own core fanbase. A diversion if you will.
As Pete observed “‘Kerching!’ sadly springs to mind. It’s hard to see what other reason there might be.”
However, the aim of introducing Denny’s work/style to a new, perhaps younger, audience was to be commended and he concluded it was “a rather lovely record.”
one of the finest contemporary singer songwriter gracing these fair isles
Regardless in 2013 was Gilmore’s first completely new set of self-penned material since Murphy’s Heart in 2010. Uniquely, the album added extensive use of strings to the arrangements. Pete Whalley again: “it’s perhaps her most mature and complete long player since Avalanche (2003). Bigger and glossier, yes, but Gilmore’s razor sharp lyrics and dark humour thankfully haven’t been blunted by motherhood.”
Reviewing Thea’s promotional tour for the album in Liverpool in May 2013 Pete commented “there’s no finer British vocalist/singer songwriter on the scene at present.”
The other thing the date proved was that Gilmore has it all – she can do folk, pop, soft rock all with equal aplomb. And on the night she gave a peerless vocal performance. I’ve seen her several times now, and this was by far the most complete. Combined with Regardless including some of her most commercial/radio friendly work to date, and clearly striking a chord with the public, could it be that she’s on finally on the brink of achieving the wider recognition she so richly deserves?
But, reviewing Thea’s Christmas gig in December 2013, David Randall commented:
In a week that saw Sam Bailey (Sam who? Ed.) crowned Queen of X Factor and announcing that her first album may be one of cover versions, you can’t help feeling that the true musical troopers suffer in silence.
Enter, Thea Gilmore, who since 1998 has steadfastly trod the boards and who left it until 2004 to record her first album of ‘covers’ .
But now is not the time to ruminate over the sad state of the music industry and indeed the fickle hand of fate. We can’t under-estimate that at least Thea is probably comfortable in her own skin. Musically, and ethically, she has never sold out or been mis-shapen by “impresarios”.
A year later in December 2014 Pete Whalley noted a somewhat restrained Chester audience “… even a storming version of ‘Run Run Rudolph’ failed to ‘get the party started’. The audience were attentive, polite, and appreciative, but party animals? No. Thea seemed bemused about what might go on at office parties, but I suspect that for most in attendance their days of inappropriate behaviour in the photocopying room is but a fond and distant memory.”
In 2015 it was time to consolidate and Ghosts and Graffiti offered “a retrospective with a twist – it includes 4 new songs, 2 subtle remixes from Rules For Jokers – ‘Holding Your Hand’ and ‘Juliet’ – a solo re-working of ‘Old Soul’, 8 collaborations with some of those who’ve inspired her, including Joan (Wasser) As Police Woman, Billy Bragg, Joan Baez, The Waterboys, John Cooper Clarke, and King Creosote, and 6 previously released albums tracks/singles.”
Perhaps the perfect introduction to “one of the finest contemporary singer songwriter gracing these fair isles.”
a woman who is probably the finest songwriter and performer of her generation
Progressive rock editor Alan Jones has followed Thea Gilmore’s career since the late 1990s when she was championed by Bob Harris on his Saturday Radio 2 show.
I’ve seen her develop from a bile-spitting teenager on albums such as ‘Burning Dorothy’ and ‘The Lipstick Conspiracies’ through to today’s professional gloss and almost commercial acceptability.
I say ‘almost’ because I suspect that Thea will never allow herself to become ‘acceptable’ in the real meaning of the word as her uncompromising, left-field views on love, loss and the world in general will always keep her on the margins.
Photo: Alan Jones
Reviewing her gig at Liverpool’s Philharmonic Hall in November 2015 Alan added:
This was one of those gigs you just wanted to go on and on. Things never sagged for a minute (even the tuning problems were comedy opportunities) and the choice of setlist was just as it should have been – a cornucopia of treasures old and new, beautifully sung, beautifully played and wildly appreciated by those of us lucky enough to be there.
At GRTR! we don’t give stars for gigs – but trust me, this was a six.
In his 2015 ‘Best Of’ Alan further confirmed the critical view “a woman who is probably the finest songwriter and performer of her generation.”
Two years later The Counterweight was his top album of the year whilst the reader popular poll also placed it in the top position.
Some might have noted the album’s shift more towards the mainstream with heavy use of programming but as Alan noted it was still a Thea Gilmore album, displaying the usual high songwriting and vocal values and summing it up as “simply breathtaking.”
In 2010 ‘Strange Communion’ was thankfully reissued whilst Thea’s Christmas gig (2018) plundered that album again along with its new bonus tracks. Pete Whalley noted “… word is clearly spreading, with this year’s Christmas Party tour featuring more dates, at bigger venues, and with Sold Out signs appearing at many.
… there’s something unquestionably ‘special’ about these gigs and a chance to forget about Brexit, the X Factor, and what to buy Aunty Mabel.
With nary a turkey in sight, this was a performance to warm the most chilled of cockles on a wet and windy December night – uplifting sustenance for the soul from one of our very finest singer songwriters. A timely reminder, if one was needed, to put Strange Communion on your list to Santa. Hell, why not give a copy to Aunty Mabel as well!
2019′s album Small World Turning made Alan Jones’ best of the year selections noting how it “returns to her “contemporary folk” roots with another wonderful collection of pithy, insightful and intelligent songs …”
Two years later, and exacerbated perhaps by the pandemic, Thea declared her separation from partner (and long-time producer) Nigel Stonier citing “coercive control”. Such serious personal issues would inevitably impact on her creative muse.
Her next album was not even called by her name but Afterlight, seemingly providing distance from a musical career that was also intimately entwined with Stonier.
What’s a woman to do when the life that you’ve led for over twenty years reveals itself over time to be a stifling, coercive relationship that’s dominated your life and musical career?
The answer for Thea Gilmore, one of the finest singer/songwriters this country has produced, is to bail out, change your name and then write about it all in an attempt to exorcise your demons and move on.
Alan Jones noted the emotional intensity and cathartic nature of the content but listing it as a favourite album in his ‘Best Of’ 2021 it was also selected as “singer songwriter album of the year” He also listed ‘Afterlight’ in his top albums covering the period 2003-2023 as part of Get Ready to ROCK!’s 20th anniversary retrospective.
Never one to hold back when something needs saying, Gilmore’s gift with words is front and centre here on an extraordinary album that details dark and, at times, sinister themes – but with songs and melodies to die for.
Thankfully, normal service was resumed for the next self-titled album, with Thea’s real name restored to the credits. Perhaps not completely “normal” as Thea’s relationship redemption continued:
The emotional catharsis she has been through has helped her tap into a rich vein of absolute killer songs – yes, reaching into the very depths of despair at times – but also lighting the way for both her, and the rest of us, to believe in a life-affirming future.
Twelve tracks here and not a word is wasted on any of them – demonstrating a need to move on but with a bitter look back in the rear-view mirror.
On ‘She Speaks In Colours’ she writes about Ellen Raffell from Blyth who died at just 16 from anaphylaxis in 2019 and which had its debut on BBC TV’s The One Show as part of the 21st Century Folk project thus again bringing Thea to a wider audience.
Overall, though, this album (like its predecessor) articulated personal pain that listeners (not just fans) could identify with.
Thea Gilmore has crafted here an album for the ages that anyone with even half a heart can enjoy for its musical excellence alone – but for those who have experienced relationship breakdown, a comfort-blanket delivered in words and music that’s simply breathtaking.
‘Thea Gilmore’ was selected as “Singer Songwriter Album of the Year” in 2023.
In late-February 2025 Thea releases her latest album, a second collection of covers These Quiet Friends
In his early review Alan Jones opined:
Thea Gilmore has crafted an album here that imbues a haunting acoustic sheen to well known songs and, indeed, enhances the iconic status of many of them – her voice, as ever, is peerless and the acoustic guitar and piano a perfect accompaniment.
Songs to inspire, songs to comfort and songs that calm – they’re all here, delivered with breathtaking skill and empathy by an artist at the top of her game.
Of her albums, although she’s had a good few in the album charts only three have cracked the top 40 – Regardless (#39), Ghosts And Graffiti (#39) and The Counterweight (#40). Of her singles, only three bothered the singles chart – Juliet (#35), Mainstream (#50) and the “duet” with Sandy Denny, London (#86).
Alan Jones concludes “If pushed, my favourite album is The Counterweight, the best album is Thea Gilmore and my three favourite tracks (although this is like choosing your favourite child) are ‘The War’ from The Counterweight, ‘Cut And Run’ from Afterlight and ‘The Things We Never Said’ from Rules For Jokers.
Now she’s free of any musical censorship, her music is hitting new heights and more people, at long last, are starting to sit up and take notice. It’s taken long enough for people to recognise there’s a genius there just waiting to be discovered!”
Select Discography
In addition to the standard album releases Thea has released several EPs, usually only available via her website or at gigs. Exclusive tracks are made available to her followers at the Patreon website.
INSTEAD OF THE SAINTS (1998) – Instead Of The Saints, Beelzebub*, Brittle Dreams*, Maybe* (tracks marked * appeared on the bonus disc of ‘Songs From The Gutter’ in 2002.
AS IF (2001) – This Girl Is Taking Bets, Gun Cotton*, You Tell Me*, Don’t Set Foot Over The Railway Track*, December In New York*, Straight Up (cover of Paula Abdul song) – again, tracks marked * appeared on the bonus disc of ‘Songs From The Gutter’ in 2002.
THE THREADS EP* (2007) – Teacher Teacher, Are You Ready?, Icarus Wind, The Parting Glass
BEGINNERS EP* (2012) – Beautiful Hopeful, Me By Numbers, The Amazing Floating Man, Hush
GIRL MERCURY EP* (2015) – Girl Mercury, Pretty In Lace, The Waltz Of The Hare And The Hound, Josephine Knots
(All the tracks from these three EPs * appeared on the compilation ‘Extended Playground’)
THE NEW TIN DRUM (2017) – The New Tin Drum, What Kind Of Noise Will It Make?, Willow, Eye On The Prize (her two sons appear in the credits of this one)
David Randall chatted to Thea Gilmore in February 2025 for Get Ready to ROCK! Radio. This edited version of the interview first broadcast 24 February includes tracks from the album ‘These Quiet Friends’ and others from Thea’s back catalogue. Part 1 is available at the start of this feature.
UK dates 2025
Mar 12 Canterbury – Cathedral Lodge
Mar 13 Leicester – Y Theatre
Mar 14 Liverpool – Tung Auditorium
Mar 15 Pocklington – Arts Centre
Mar 19 Cardiff – Acapela Studio
Mar 20 Wolverhampton – Newhampton Arts Centre
Mar 21 Barnsley – Birdwell Venue
Mar 23 Bath – The 7 Hills Spring Sessions
Mar 24 Oxford – SJE Arts
Mar 26 Bridport – Electric Palace
Mar 30 Exeter – Phoenix
Apr 1 Southampton – Papillon
Apr 2 Shoreham by Sea – Ropetackle Arts Centre
Apr 17 Nantwich – Civic Hall (Nantwich Jazz & Blues Festival)
Gig review (Nantwich Civic Hall, April 2025)
GRTR! Greats
Introduction and Discography: Alan Jones
Main story: David Randall
Photography: David Randall (except where stated)
Contributors: Alan Jones, Peter Muir, David Randall, Pete Whalley
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Power Plays w/c 1 December 2025
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