...of Liz's Live Performances  

Stewart reviews Warwick & I at Readifolk in September 2010

In a World Of All The Loveliness, what features would you hold dearest? This evening we were visited by much loveliness Liz Simcock, with her accompanist Warwick Jones, plus support from our own Gary Edwards. I'm not just saying this because when Liz arrived she chose to sit next to me, or because she laughed at one of my jokes. I was a bit worried at first, when I saw the microphones and pluggedin guitars we seldom see amplification at Readifolk, not because we have a policy about it, but because we meet in a small room, and because if you pay attention, unamplified guitars and voices sound fine. But actually, from where I was sittting, their system seemed almost invisible, and didn't distract from their performance at all. When Liz and Warwick played to us, all was transformed, and loveliness prevailed. It was like crystalised air. The audience were charmed by them. Liz isn't really a folk singer, and no traditional stuff was to be heard this evening, but her own clever songs fit in well to a format that suits many folk clubs. Neither of them are simply strummers, but have worked out some beautifully balanced counterpoints on their guitars.  If you could bottle loveliness, this evening would have been a good wellspring; you'd make a fortune, and all the world's miseries would be solved. Until someone manages it, a Liz Simcock gig should suffice.

Peter Kitchen reviews our Acoustic Kitchen gig in February 2010

She came, she saw, she conquered!!!
Liz Simcock was an absolute joy to listen to at the Riverside Restaurant last Friday 5th February.  Her stage persona is very engaging and honest, though remaining thoroughly professional at all times. A rare treat in this day of egocentric wanabees, Liz was a breath of fresh air.  Liz came armed with her uniquely crafted songs – taking us, and Letisha Boccemski, effortlessly to the Cromer pier in our Pink and Silver Sneakers.  With Warwick Jones on guitar and vocals and Ian Newman on bass, Liz produced 2 sets of pure magic that I hope can be repeated in the near future….  Local band, Too man whickers, opened the evening with some foot stompers that provided just the right ambience for the night.

Another banquet of fine music to a SOLD OUT house!!!

Marion Treby  reviews Cambridge Folk Club gig July 2006 for Moving Tone 

"On 14 July singer-songwriter Liz Simcock continued her well-established association with the Cambridge Folk Club by making a welcome return appearance, accompanied by Warwick Jones (guitar) and Ian Newman (bass). The appreciative audience were treated to two excellent sets of Liz's songs from her CDs Seven Sisters Road (2001) and Vanishing Girl (2004); Liz also performed some as yet unrecorded material, songs which will be featured on her next album – continuing evidence of the high standards Liz sets herself. She says, 'It takes me ages to decide on lyrics. I'd rather write a few really good songs than a lot of bad ones.'

The setting was evidently one that Simcock enjoys. 'Folk clubs', she says, ‘offer a real audience. Playing to small appreciative audiences is wonderful and has become the end in itself.' Friday's audience was no exception. Simcock's lyrics on Vanishing Girl (2004) and of her as yet unrecorded songs demonstrate her increasing range of interests, and the two sets for her Cambridge Folk Club audience demonstrated the full range of her song-writing talent; plaintive songs about the dynamics of relationships  – The Invisible Man and the Vanishing Girl – featured alongside songs which cast a wry glance at contemporary society, such as the anti-materialist Pink and Silver Sneakers. Also in the mix were angrier songs with a political edge, such as the upbeat Scissors Cuts Paper, her thoughtful tribute song to Joni Mitchell The Sand that Makes the Pearl and a couple of lighthearted singalong songs with simple messages. The subtlety of the lyrics was matched by the subtlety of the arrangements, which supported the purity and clarity of Liz's voice. Jones and Newman's sympathetic backing, often jazz inflected, such as in Walking on Eggshells – with simple riffs and layered lines, effectively set the mood of the songs, whether gentle and contemplative,  assertive or upbeat. As if this wasn't enough, Liz played Masterpiece on her own.

The multi-faceted nature of Simcock's music leaves her audiences with a feelgood factor, but gives them food for thought. The musicianship of her 'appreciative and supportive accompanists’ in Jones and Newman (Simcock's words) has enhanced her work; a similarly appreciative and supportive audience will welcome her back for her next appearance at the Cambridge Folk Club. I for one am eagerly awaiting the arrival of her next CD."  

(Marion Treby, Cambridge Folk Club) 

Bob Preece reviews Liz's set supporting Pete Atkin on 24th July 2006 (at the Ravenswood) for Acoustic Sussex and the Mid Sussex Times.

"Opening the show was a gorgeous singer called Liz Simcock, who I hadn't seen live before. A songwriter of considerable charm and ability, Liz is the first musician to be signed to Angelic Music (www.angelicmusic.co.uk) a new specialist label for female singer songwriters. Set up in response to the homogeneity of the pop industry and backed by Katie Melua, the label seeks out artists with talent and individuality, rather than those who fit the build of a stereotypical pop princess. Liz showed why she's been chosen for the label, performing a gorgeous and varied set, including songs of loss and unrequited love among more upbeat numbers. Her voice and melodies are sweet without being cloying and her tunes have a habit of sticking in your mind afterwards. Favourites for me were Masterpiece and a song about the life of Joni Mitchell, The Sand That makes the Pearl. This was a wonderful evening's entertainment and a treat for anyone looking to turn off the mobile phones and enjoy the 'real thing'" (Bob Preece)

ArtsAcoustic:  "A fantastic performance...in the Cafe Bar.  Liz kicked off first and it was an absolute pleasure to listen to her sing, and with every one hanging on to her every word, she certainly knows how to captivate an audience." Oct 04  

Clive Gregson: "Liz Simcock did a great job opening for me at Hitchin. She has a fine album available so check it out". 

Hitchin Folk Club: "Liz is a great songwriter and gorgeous singer with a relaxed and very endearing stage presence.  We have seen her grow from strength to strength as a performer, and now stand easily alongside any of the female singer/songwriters working on the acoustic/folk music scene".  

Acoustic Routes: "Liz Simcock is one of the finest singer/songwriters around. With a strong, expressive voice and high quality songs her music is fresh, original and very entertaining" 

...of "Vanishing Girl"

Wears the Trousers

"Simcock has passed the last few years plying her trade around the country’s folk club circuit, ably assisted by regular cohorts Ian Newman and Warwick Jones on bass and guitar, both of whom appear here along with drummer Pete Abernathy. The musical maturity that comes from entertaining such a notoriously difficult-to-please audience is certainly evident on the recording. But Simcock is not some twiddly, finger-in-the-ear folkster — her palette is much broader than that. Sure, there are winsome acoustic-based numbers and Joni Mitchell is a notable influence — The Sand That Makes The Pearl is a gently personal tribute to the great lady, inspired by the 2003 TV documentary 'Woman Of Heart & Mind'.  Even the lyrics are populated with a patchwork of Mitchell's thoughts and quotations, adding an additionally moving and poignant dimension to the song.  On other songs, Simcock draws from more diverse sources — Scissors Cut Paper rocks quietly along
whilst musing about the futility of the conflicts which beset this troubled world and Home To You is a country boogie that Mary Chapin Carpenter herself would be proud of. Elsewhere, there are nods in the direction of some of the last century’s greatest songwriters, from Paul Simon to Cole Porter and various points in between. Like Mitchell, Simcock invests a good deal of well-judged humour in her music, scattering the ticklers
among the more contemplative numbers. Most notable of the former variety is the sublime Letisha Boccemski, on which Simcock wonders what it would be like to inherit a greater sense of devil-may-care centeredness and self-confidence (fans of Channel 4’s Countdown will instantly recognise the identity of Ms Boccemski’s mild-mannered alter ego). Lyrically, it's witty and urbane and carried along on a jaunty, almost trad-jazz soundtrack (with Simcock manning the clarinet too). Imagine Aimee Mann singing from the Peter Skellern songbook, or even vice versa, and smile.

All this focus on the quality of the writing risks neglecting the beauty of Simcock’s voice. Blending a mellow richness with clarity and genuine emotion she produces a beautiful tone that perfectly complements the songs. Similarly, she is no slouch on the acoustic guitar either, mixing some excellent finger picking and riffing with Jones. On this evidence, Simcock is a singer to watch out for and with the backing of Angelic and a healthy dollop of luck she won't be disappearing any time soon."  (Trevor Raggatt)

Folk and Roots
"Liz Simcock is the first artist to be signed to Angelic Music - the UK's first label to specialise purely in female singer/songwriters. Liz's music career has been a quiet revolution, after having a song chosen to appear on the 'Playpen' compilation cd alongside Eliza Carthy, Billy Bragg, Eddi Reader and Kathryn Williams. Liz then released 'Seven Sisters Road' her first full length cd, treading her own independent path and building a solid reputation as a live performer along the way. Liz's determination to be totally her own woman is a theme that continues on with this new album 'Vanishing Girl'.
The wry tongue-in-cheek Letisha Boccemski (Liz's alter-ego) gently but firmly lets you know in no uncertain terms that the artist has no interest in swaying with the well meaning advice and opinions of those who think they know better. She knows, as all true artists should, that what really matters, is a calm focus on her music and lyrics above all else. Her source of inspiration is clear in 'The Sand that makes the Pearl'. Quite literally the 'pearl' of the whole album, the song takes the story of the life of Joni Mitchell and works it into a shimmering work of beauty. The message however, goes beyond Joni's personal story to reach out on a personal level to touch everyone who hears it.
"Time and time again the choice for me, Either to be loved or to be free, Has left me wheeling skyward frozen and alone - But it's a winter that brings springtime to my world: It's the sand that makes the pearl."
Blessed not only with a voice that is charged full of emotion, direct, warm and melodic, Liz's lyrics are both calm and passionate, full of poetry and yet instantly accessible, warm and welcoming but tinged with a touch of sadness, perhaps at this mad world we all find ourselves in - it's clear in the opening track 'Fish Out of Water',
"And I feel like a fish out of water trying to breathe, Twisting and turning but the water is out of my reach. You could say that it's just how life goes but I still dream - of rivers running out to the open sea"
In this world of pop idols and celebrity worship, a quiet revolution is indeed taking place!
There are those of us out there looking for the real thing - if that's you, close your eyes, turn off the mobile and prepare for a treat!"
Jasmine Blake

...of "Seven Sisters Road"

Folk and Roots Music Dec 2001  
North London based singer-songwriter Liz Simcock has just released her debut album named after one of London's busy arteries. Simcock has been a regular feature on London's acoustic scene for the last six years making regular appearances at some folk clubs and Soho's Poetry Cafe. The album consists of 12 self penned songs, drawing on Simcock's reflections on personal relationships, the world around her. One of the highlights of the album is "Forty Years", Simcock accompanies her singing with some wonderfully atmospheric and sensitive penny whistling, a tale of betrayed and false love, of betrayed loyalties, deception and the complexities of human relationships, which brings to the fore Simcock's intelligent and insightful songwriting. Simcock cites a number of influences on her music from Christine Collister, to Bob Dylan via Billy Bragg, Richard Thompson Nancy Griffith and Eddi Reader, whilst some of these influences can be seen Simcock is a talent in very much her own right.
The album draws on Simcock's strength as a singer and guitarist (with guest appearances by Dave Ellis on acoustic guitar, Jake Walker on viola and Gary Brady on percussion, but the album is very much Simcock's own), in these days when from time to time the label "singer-songwriter" can be pretty darned vague, Simcock's debut offering is a fine contribution.
It would be interesting to see Simcock to put her clear skills to play on some traditional material, I suspect the results would be impressive, that aside this album is an excellent debut. This is an album that deserves to be played again and again, each listening will reveal further depth. It's going to be a good long time before my copy moves too far away from my player.

Psychos Dec 2001
Promoting her debut album "Seven Sisters Road", Liz evokes comparisons with the likes of Eddi Reader, Kathryn Williams and Thea Gilmore.. all three of whom she appeared with on the 1999 Playpen compilation album. A deceptively simple style lends itself perfectly to her exquisite songs, the lyrics of which demonstrate an eye for detail which is truly rare. Underlying much of her music is a sense of peacefulness and understanding wrought from bitter experience. She sings of loss, of unrequited love and of fools too full of themselves to see what's best....and yet her message is one of acceptance. Musically such songs are tailored by melodies which are neither too sweet nor too hard, although, now and again, a tune will deliver itself into your consciousness till you think it the best thing you've ever heard; for me this happened with a track called Masterpiece. Liz Simcock is truly a wonderful songwriter.

Reviews for Playpen, an Album of New Acoustic Music

Rock 'n' Reel Autumn 1999
Liz Simcock is a revelation. Her Strand of Silver shimmers with all the breathy beauty of a (warmer) June Tabor. A neatly effective delivery, too, reinforces the impression that she deserves to reach far larger audiences than she currently does.

Get Rhythm Dec 1999
Liz Simcock brings back the Celtic feel with Strand of Silver, a song that... sound(s) like a track from a Judds album, professional and perfectly executed.

The Big Issue in the North 22nd Nov 1999
Liz Simcock's shockingly Strand of Silver is just one highlight on an album bursting at the seams with good-natured, simple yet evocative music... reflecting the increase in popularity of acoustic music, the Playpen disc brings together new, up-and-coming and established artists to provide 13 tracks covering a wide spectrum of musical styles.
There are excellent cuts by the big names - Billy Bragg, Eddi Reader and Eliza Carthy (Bragg's 'Must I Paint You A Picture' in particular is excellent), but it's the lesser-known artists that provide the most interest and the highlights on the album. Thea Gilmore's 'People Like You' is a sharp, spiky track with a really strong melody, while the Liz Simcock and Miro songs are the best of the many undiscovered gems on the Playpen disc."...reflects the amazing depth of talent on the acoustic scene..."