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The font used for the tour advert gives the game away. Conscious or not, it bears an uncanny resemblance to the font used by Aerosmith in their iconic logo. Go check Google now. We have time. Although Aerosmith is only a smidgeon of what you will find in the musical DNA of Nashville rockers Parker Barrow (you are more likely to pick up on the Led Zeppelin influence, though), they play a huge role when it comes to the audience that Parker Barrow are looking to capture: the famed Blue Army. The very same Blue Army who, because of the Bostonians’ retirement, needs a new band to pledge their allegiance to, and that band could very well be the incendiary live act that are starting to make waves over this side of the Atlantic.
The Led Zeppelin influence is huge. From Dylan Turner’s bowler-hatted nod to Bonzo, coupled with him bringing the thunder every time he steps behind his drum kit, which looks like it could combust at any time, to guitarist Alex Bender’s gnarly Icarus/Swan Song logo tribute tattoo on his left shoulder, and the stop-you-in-your-tracks flawless cover of ‘No Quarter’, which lands as the set is coming to an explosive conclusion.
Frontwoman Megan Kane (the “Parker” to husband Dylan Turner’s “Barrow”) often draws comparisons to legendary female vocalists like Janis Joplin, Stevie Nicks, and Aretha Franklin, but, by Odin’s beard, she doesn’t half pack a Robert Plant-sized punch here and there. Moves like Steven Tyler, and Elin Larsson from Blues Pills, and has the range of Robert Plant.
Kane’s recommended 10, 000 steps per day are dispatched with ease a few minutes into opening track ‘Nothin’ Left to Save’ (one of a handful of new tracks on the latest album ‘Hold The Mash’, which was previously available as a 6-track EP). Non-stop motion; it’s almost impossible to take your eyes from her as she spins and dances around the stage while shaking her tambourine like her life depends on it. A commanding presence, but also very real. If you go to enough gigs, then you can always spot someone going through the motions with rockstar moves 101. Not so with Kane. Along with peers such as Lee-La Baum from The Damn Truth, and more close to home: solo star Elles Bailey, and Grace Bond from When Rivers Meet, there is an authenticity to Kane that is pleasing at every turn.
It does help, however, that Kane is surrounded by killer players. And boy, can the guys in Parker Barrow play. The dual-guitar link-up between the aforementioned Alex Bender and Will Tipton is nothing short of sensational. Tipton favours the battered Strat approach (whammy bar!) while Bender opts for the weight of a Gibbo. Tipton despatches some Keef Richards-like tones on the intro to the ass-kicking strut of ‘Blinded’, and when the band (completed by Kyle Priber on bass guitar, and the crucial keys sound from Eric Safka) lock into the massive groove that lands mid-song, it’s easy to see why Parker Barrow are so highly regarded. Tipton breaks out the slide on ‘Throwin’ Stones’, and he has a finger pickin’ style that is very easy on the senses, as let’s be honest here, who doesn’t like a bit of slide guitar?
Megan Kane never stops smiling, and is hypnotic to watch. At times, her range borders on jaw-dropping. ‘Novocaine’ highlights how she can go from tender and fragile to full-on rock God in a split second. A lot of those Zeppelin influences come through on ‘Novocaine’, especially from Alex Bender and the big fella behind the kit. There is also a Heart influence to Parker Barrow. Pre-big-hair Heart. Which shouldn’t come as a surprise, given how close Heart were to Zeppelin. The mid-set pairing of ‘Olivia Lane’ and ‘Ruby’s Reckoning’, which has Kane performing seated, with Bender alongside her on acoustic guitar, is a real highlight in a Heart ‘Dog & Butterfly’ kind of way. Grittier, though, with lashings of slide from Tipton.
The twenty-plus-minute jam that begins with ‘Count Your Dollars’ splits the Parker Barrow faithful. The standard of playing from the band is staggering. Snippets of ‘Beck’s Bolero’ (with Megan helping out her husband on drums), and was that a bit of Deep Purple’s ‘Lazy’ in there amongst guitar, drum and keyboard solos? All while Megan acts as cheerleader, lighting up every inch of the stage with her infectious personality and full-on assault of her tambourine.
Not content with merely having the cajones to take on Zeppelin (and something other than the standard ‘Rock and Roll’), the band close with another cover: this time around it’s a stunning, lengthy take on ‘My Morning Song’ by The Black Crowes. Marcus King does a killer cover of this classic, and Parker Barrow matches that version. With some little detours here and there to spread their wings, the result is perfection.
A packed venue, a triumphant, sweaty rock and roll show on a Tuesday night. And after a Summer of enormo-gigs spent looking at a screen, a gig that highlights the importance of getting up close and personal. Parker Barrow return to the UK for another batch of shows in November & December; looking at the list of venues, it won’t be long until the shows get upgraded to larger rooms. Much larger rooms. In the meantime, somebody needs to send a copy of ‘Hold the Mash’ to Mick Jagger, because, if the rumours are true and The Stones go back out on the road next year, then Parker Barrow would slay as opening act. Make it happen, Mick, make it happen.
Having already performed with acts like When Rivers Meet and Brave Rival, opening act Georgia Nevada is familiar to a lot of people in attendance. And judging by the reception that greets the hotly-tipped Cambridgeshire-based genre-mashing singer-songwriter, she made quite an impression on WRM’s family of fans known as Rapids last year. Normally performing with a full band, tonight it’s just Georgia and guitarist/percusionist Edd Robinson for a stripped-back set which constantly impresses, and not just the way in which it drowns out the noise coming from the bar adjacent to the stage.
The well-received thirty-minute set is a great mixture of material culled from Georgia’s debut album ‘BackFire’ and the 5-track EP ‘Bright Side of The Dark’. Beginning with the boot-stomping title track from the latter, it’s a warm, easy-going set which at times highlights how natural a storyteller Georgia is. People are actually listening, and when she regales the crowd with the tale of how she was accidentally copied in on an email between a promoter and a venue where they were talking about her, she gets the required oooohs and aaaahhhs from the punters. Still, at least she got a great song out of the incident, in this case ‘Cookie Cutter’. With two stellar support tours under Georgia’s belt, headline shows are a must.
Review – Dave
All images – Dave Jamieson
Parker Barrtow tour dates:
LONDON, BLACK HEART
WEDNESDAY 25 NOVEMBER 2026
NORWICH, WATERFRONT STUDIO
THURSDAY 26 NOVEMBER 2026
MILTON KEYNES, CRAUFURD ARMS
FRIDAY 27 NOVEMBER 2026
PLANET ROCKSTOCK
SUNDAY NOVEMBER 29
NOTTINGHAM, METRONOME
TUESDAY 1 DECEMBER 2026
BIRMINGHAM INSTITUTE 3
WEDNESDAY 2 DECEMBER 2006
MANCHESTER ACADEMY 3
THURSDAY 3 DECEMBER 2026
EDINBURGH, BANNERMAN’S
FRIDAY 4 DECEMBER 2026
Tickets on sale now at
The Gig Cartel and Parker Barrow
