Album Review: I Count – Margot Bevington

Margot Bevington is a singer-songwriter and school teacher with more than twenty years of classroom experience to date. A passionate advocate for inclusive education, she has used her music to help children  discover their voices through song. An award-winning songwriter and graduate of Oberlin Conservatory of Music, Bevington has crafted a sound that blends the warmth of folk music with the energy of classic rock. Yet her latest album I Count is about far more than music alone or even learning for that matter. After all, what a brilliant title for an album, an empowering sentiment in a world where too many of us feel like we're not enough, it reminds us that yes, we do count. Its message is unmistakable, and she delivers it with considerable conviction.  

According to Bevington, counting songs, which is her particular area of focus on this album, provide 'a lesson in how we each have value, a voice, and differences we can identify and celebrate'. The album bridges the gap between old and new through irresistibly catchy songs that speak to a generation where ideas such as diversity and equity are part of everyday conversation. As she so eloquently puts it, 'counting songs are a child’s first lessons in differentiation and value', and too often traditional nursery rhymes 'aren’t always inclusive or filled with positive messages'. I personally couldn't agree more.

So how does she take on such a Herculean task? By creating ten engaging songs that hit their target with considerable force. Bevington combines pop sensibility with educational expertise in a way that rarely feels instructional. The artist clearly understands that young children learn best when concepts are broken down into manageable pieces, and she approaches that challenge with consummate skill. In this sense the listener learns organically almost unaware that they are counting at all, which is perhaps what lies at the very heart of all inspired composition. Or as the German polymath Gottfried Wihelm von Leibniz famously declared - music is the 'arithmetic exercise of the soul, which doesn't not know that it is counting'.

The album opens with the bouncy and playful 'All Bubbling Babies', where bass, gentle percussion, and nimble piano create a lightness of touch that allows the vocals to really cut through. Exquisite harmonies add further uplift as the lyrics transform counting into something hypnotic and melodic, providing the perfect introduction to both the album’s sound and philosophy. The true strength of the song lies in its simplicity, here less is more, and therefore succeeds in keeping the listener engaged through its hypnotic allure.

'Many Ways to Be' introduces a shuffle beat alongside a solid bassline, with a hypnotic piano once again driving the melody. The song sparkles throughout, its soaring vocals celebrating individuality and learning in equal measure. 'Many Happy Helpers' takes a slightly more forthright approach, featuring instructional lyrics that demonstrates how tasks can be shared and broken down numerically, encouraging children to contribute and participate. The message is simple, many hands make light work. I'm sure all you teachers out there would no doubt agree.

'Three Is a Magic Number' takes a more freeform approach to this classic children's track, allowing the musicianship more room to breathe. Slightly funky in tone, the song highlight the number three, whether through family structures or the ease with which the number multiplies. The dexterity of the musical arrangement here is impressive, pushing the boundaries of what a counting song can sound like. It is then followed by 'Three Big Feelings', which carries a noticeable Americana flavour through its doo-wop harmonies and gentle melody. Conjuring images of fifties nostalgia, and providing an interesting nostalgic accompaniment to the songs lyrical message.

My favourite track on the album is the superb 'That’s How I Can Make Equity'. It is a beautifully crafted song with both a memorable melody and a stirring message. Here, numbers become a way of explaining fairness and equity, in a way that reflects the expectations of contemporary society. Musically, the track has a cool, laid-back vibe that perfectly complements its reflective lyrics. One could almost imagine Joni Mitchell performing such a song with a similar artistic approach. The message is simple but powerful: kindness, sharing, and fairness enrich not only others, but ourselves as well.

'He, She, They' is equally delightful, built around a strong hook and a hypnotic arrangement that effortlessly draws the listener in. What sounds like a xylophone adds extra colour and subtle texture to the melody. It is another ambitious composition, confident without ever feeling forced. 'All the Colours on Our Skin' focuses on diversity, celebrating the many shades that make up humanity while weaving the counting process naturally into the lyrics. The music strives forward with considerable purpose, yet never loses its sense of fun, allowing children to clap and sing along as they learn.

'The Baby Not a Baby' introduces a traditional country influence through its rootsy arrangement and catchy singalong chorus. As the child in the song grows older, birthdays are celebrated, numbers exponentially increase, and counting becomes part of the storytelling itself. It is a clever idea that blends melody, humour, and education seamlessly. Finally, 'One Me' closes the album with sweeping emotion and an anthemic quality that truly hits the mark. Here, children are encouraged to sing along as the melody rises and the arrangement gently builds toward a moving finale. It is a fitting conclusion to an album that is both ambitious, and refreshingly original.

Margot Bevington is clearly an artist who cares deeply about both music and education. She has identified a gap within children’s music and responded with compassion, and creativity. Highlighting how many traditional nursery rhymes feel outdated, she sets out here to redress the balance with educational songs that reflect the modern world. Traditional nursery rhymes are replaced here by thoughtful songs that encourage empathy, inclusion, and curiosity. Through her expertise in writing songs about rhythm and numbers, Bevington demonstrates how music can help children understand fairness, solve problems, and celebrate individuality. Teachers, parents, and educators alike would do well to pay attention. This is music with a message, a message that encourages children to learn, respect one another, and enjoy the process along the way. 

Margot Bevington – 1,2,3 eyes on me.

Album Review: The Lost Junkyard Gator Parade – Phredd

Welcome to the theatre of the absurd. I’m referring, of course, to the artist known simply as Phredd and, in particular, his latest album, The Lost Junkyard Gator Parade. Phredd takes no prisoners here, delivering music that makes even the avant-garde sound commercial. Musical mayhem is the order of the day, punctuated by moments of surprising beauty and dizzying imagination.

Essentially a one-man band, Phredd combines ukulele, harmonica, drums, bass, and eccentric vocals into a wildly entertaining experience aimed at children and families. This marks his fourteenth release, and across the last twenty-five years he has mastered the art of crafting chaotic, joy-filled music that refuses to obey convention. Imagine Raffi colliding with the cast of The Jungle Book at an experimental jazz festival and you begin to understand the strange magic at work here.

The opening track, 'Kazoo Overture', sounds like a long-lost outtake from The Beatles (The White Album) – think 'Wild Honey Pie' pushed even further into absurdity. The kazoo takes centre stage during this gleeful momentary lapse of reason, offering a perfect introduction to the madness that follows. 'Nipper Lost His Flipper' continues in a similarly bizarre vein, driven by a loose shuffle beat and improvised vocals that resemble a jazz ensemble jamming together during a particularly unruly Saturday afternoon session. Somehow, the bass manages to hold the song together while the vocals wander gleefully off the rails, resulting in one of the strangest tracks you are ever likely to hear.  

'Junkyard Town' embraces the spirit of a sea shanty, propelled by a pounding bass drum and cheerful ukulele accompaniment. It is both utterly unique and irresistibly fun, sounding as though Phredd had a rollicking good time recording it. The singalong chorus, complete with invitations to 'laugh at my recycle jokes', adds to the charm, while the backing vocals and playful instrumentation perfectly complement the track’s eccentric personality.

'Later Gator' introduces a clearer, more melodic vocal performance, sparring effortlessly with bass, drums, and ukulele. The lyrics take an amusing turn as Phredd announces 'it’s time to go' despite this being only the fourth track on the album. However, with Phredd, by now we should have all realised unpredictability is part of the appeal. In many ways, this feels like the children’s song Raffi never got around to writing: jaunty, heartfelt, and genuinely uplifting.

'Saint Patrick’s Cookie Parade' is whimsical and warm, driven by lively horn arrangements and buoyant vocals that perfectly suit lyrics celebrating togetherness and joy. There is a genuine affection here for Irish culture and communal celebration. In stark contrast, 'I Am a Robot' marches along with mechanical precision, blending descriptive verses with delightfully encouraging lyrics reminding listeners to be thankful they are 'not a robot'. The harmonica work is especially impressive, adding texture and personality to a track that would likely become an instant favourite in any music classroom.

'The Eddie Daniels Internet Adventure' returns to pure absurdity, presenting a brief, bizarre interlude that appears to feature a live audience. Clocking in at barely a minute, it serves as a humorous palate cleanser amidst the surrounding chaos. Meanwhile, 'Ziggy the Kind-O-Saur' proves that Phredd can produce more traditional children’s music whenever he chooses. Driven once again by drums, ukulele, and harmonica, the song introduces a dinosaur who is essentially a 'big-hearted troubadour'. The rhythmic phrasing is sharp and inventive, while the trombone solo injects an extra dose of playful humour.

'Chocolate Cake' offers one of the album’s dreamiest moments, balancing laid-back instrumentation with surprisingly expressive vocals. The bass playing is warm and imaginative, anchoring the song while the vocals drift into delightfully experimental territory. At one point, the bridge sounds as though a cat has wandered into the studio to provide backing vocals; an absurd creative choice that somehow works perfectly within the album’s universe.

Finally, 'Later Gator Goodbye' closes the album on an uplifting note, saying farewell in multiple languages before reminding listeners that 'music and love will bring me back to you'. It is a genuinely heartwarming conclusion from an artist whose sincerity shines through even during the album’s strangest moments. Beneath the chaos lies a musician with an instinctive understanding of melody, arrangement, and emotional connection.

The Lost Junkyard Gator Parade is unlike anything I have ever heard. It completely disregards traditional expectations, venturing fearlessly into territory that is simultaneously experimental, cerebral, and deeply entertaining. Across the album, bizarre sound effects, eccentric vocals, and imaginative musicianship combine to create something genuinely unique. If listeners can look beyond the sheer craziness, they will discover an artist unafraid to embrace unpredictability in pursuit of creativity and joy. Ultimately, Phredd has harnessed the sound of the unexpected, and done so with remarkable confidence and skill.

Phredd – the sound of the unexpected.

Album Review: Join the Band – Emily Who

Emily Who is a well-established figure in the world of family music. Not only does she share a stage name with one of my all-time favourite British bands, she is also widely regarded as an internationally acclaimed artist. She writes all her material with long-time collaborators Robin Gist and Peter Bailey, performs live tirelessly, and has amassed a prolific output of songs over the years. 

With five albums to her name, each showcasing her distinctive songwriting voice and warm, versatile vocals, her latest release, Join the Band, is an absolute classic. Spanning seventeen tracks, the album is rich in melody, imagination, and lyrical precision. Its themes range from road safety to interactive sing-alongs and everything in between. I know it sounds like a bit of a cliche these days, but there is genuinely something here for everyone.

The opening track of any album is crucial, it sets the tone and, in an age of shrinking attention spans, must make an immediate impression. Here, 'Any Colour Will Do' rises effortlessly to the challenge. Sprightly and full of life, it invites children to express themselves artistically, with  lyrics that place the emphasis squarely on the listener, encouraging them to be bold, trust their instincts, and remember that 'the colours that you choose are up to you'. It’s a charming antidote to hesitation, buoyed by some stirring banjo and delightful double bass, with flashes of harmonica playfully sparring alongside a Hammond organ.

For preschool teachers in search of engaging classroom material, this album is an absolute treasure trove. 'Shaker Party' bursts with energy, urging everyone to 'come to the shaker party' and keep moving  – left, right, low, high – ensuring every child feels included. 'Fly Like a Butterfly' follows a similar path, encouraging children not just to observe but to participate, flapping their wings and soaring 'through the air up there'. Even road safety gets a joyful spin in 'Crossing the Road', which transforms an everyday lesson into an interactive musical experience. 

There’s no shortage of delightful sing-alongs, either. 'Crescendo the Kookaburra' skips along with infectious charm, painting a vivid picture of the Australian bush, complete with unexpected Americana-tinged backing vocals. 'The Magic of Music' carries a nostalgic, almost 1950s feel – you could easily imagine Judy Garland at the helm. Its arrangement is lush yet effortless, with elegant strings and a chorus that radiates warmth. Then there’s 'The Omelette Song', proof that even the simplest idea can become something magical, with tight percussion and an inventive bassline giving the track a playful edge.

My personal highlight is 'Hugo and Cuddles and Boo'. It unfolds like a miniature adventure part story, part song, and rich in both curiosity and imagination. There’s a comforting familiarity to the music, as though it’s always existed just out of reach. As the characters journey on their merry way, children are encouraged to mimic the animals they encounter, turning the track into an interactive storytelling experience that’s impossible not to smile at. My only complaint? I wish it were longer, because I wasn’t quite ready for it to end, and I hazard a guess that I'm not the only one.

At its heart, the album is also a celebration of music itself, and in particular the joy of playing an instrument. Whether it’s the whimsical 'The Magic of the Flute' or the affectionate 'Hello Orchestra', which introduces the sounds and personalities of orchestral instruments, Emily Who captures that sense of wonder beautifully. 'Hello Cello', meanwhile, luxuriates in the instrument’s rich, resonant tones. Throughout, the album succeeds in presenting music as a universal language – 'a magical language that everyone can understand' – and, perhaps with a subtle nod to The Who’s classic 'Join Together', invites listeners to do exactly what the title suggests: join in.

For those drawn to gentler moments, the album also offers plenty of tenderness. 'Hello Cello' drifts along on waves of melody, while 'Dolce the Dragon' tells a sweet, engaging story, inviting children to 'slide and glide' along with its graceful tune. The album closes with 'Ballerina Dance', a soft, hypnotic finale where keyboard, strings, and bass support a vocal that glides and soars with quiet confidence.

All in all, Join the Band is a tremendous achievement from an artist who continues to evolve, despite her impressive back catalogue. There’s a kindness and authenticity in her approach that makes learning feel natural and joyful. She communicates the importance of the arts with effortless clarity, inspiring a genuine love of music along the way. The musicianship throughout is exceptional, matched by thoughtful, polished arrangements. An award-winning artist, she has already managed to take her music to the big stage, presenting orchestral children's shows around the country. She has achieved this in collaboration with the Sydney Symphony Orchestra, the Sydney Youth Orchestra, and the Ku-ring-gai Philharmonic Orchestra, which is an impressive feat by any standard.

Emily Who – perfect for preschoolers. 

Single Review: Rainbow Weather – Nicci Rea of Sunshine

Nicci Rea is a French immersion teacher and Kingston-based performer who has drawn on a rich array of musical influences to create a sound that is distinctly her own. Performing as Nicci Rea of Sunshine, she is at her core, a seasoned singer-songwriter, with extensive experience both on stage and in the studio, where she has spent years bringing her stories to life through a deep passion for creative expression. Her bilingual songs blend seamlessly with her background in musical theatre, placing heartfelt storytelling front and centre. A considerable talent, Nicci brings warmth, playfulness, and majestic melodies to children and families around the world. 

I have to say, I absolutely love this single, 'Rainbow Weather'. It’s a mesmerising piece of perfect pop, where melodic intrigue meets captivating vocals. It brought to mind shades of Kate and Anna McGarrigle, for anyone out there who may remember them. The arrangement is beautifully crafted: harpsichord, shimmering harmonies, and what sounds like a mandolin gently serenade the listener over a simple backbeat that allows the melody to truly shine.

Here, imagination runs free. This is pop music with purpose; a song that carries you into a world of colour and wonder. Sprightly and upbeat, it embraces melodic simplicity while delivering a vivid lyrical message. The song paints the colours of the rainbow with warmth and clarity, inviting us to “look up whenever there’s rainbow weather.” Each colour is described with such conviction that you feel part of this magical moment, gently reminding us of life’s simple joys.

All in all, this is a fabulous track from a superb artist who sings in full colour, with a generosity of spirit that is second to none. Sung in both French and English, the music speaks volumes, whether you connect through its lyrical meaning or simply its sense of mystery. It’s a true “brighten your day” song, one that leaves you wanting more, drawn in by its irresistible charm. Clocking in at around four minutes in length the song captivates your attention throughout, and does so with both flair and imagination. As far as I’m aware, this is her only solo release to date, so I look forward with great anticipation to hearing more from this inspirational artist in the future.

Nicci Rea of Sunshine – living colour.

Book Review: Big – Kim Noller

Kim Noller is an elementary music teacher and relatively new voice in children’s recording, bringing a wealth of musical experience into a fresh creative chapter. After years as a performer and songwriter, she released her first children’s album in 2023, quickly followed by a second in 2024. Her work is grounded in a simple but powerful belief: that music is a universal language capable of lifting spirits and helping young people make sense of the world around them.

At the heart of Noller’s work is a belief in the emotional power of music, and in particular its ability to shift moods and act as something of a lifeline when times are tough. Helping children navigate a complex world through music and literature seems to be her life’s mission, and one she embarks on with considerable energy.

Big is a new children’s book, which was adapted from the single and title track from her 2024 album Big, but more on that shortly. This inspirational picture book immediately establishes its tone through a series of rhyming couplets that speak directly to a child’s inner world. Its optimism is infectious, with lines that suggest we are 'bigger than my body can hold', with hearts that feel 'like they just might explode'.

The poetic imagery is rich and evocative throughout. The protagonist is likened to 'ocean waves crashing on the shore' and 'a beautiful sunrise ready to light the sky'. The accompanying artwork complements this lyrical message perfectly, enhancing both the emotional depth and sense of wonder. As the story unfolds, imagination takes flight, we soar 'like a giant pegasus' and even 'touch the moon' in passing.

Eventually, the narrative gently returns to earth. The child sees their reflection and realises, 'it’s just me'. Yet the message is clear: whatever we see in ourselves, we are always loved, safe, and protected. It’s a reassuring conclusion that grounds the book’s expansive emotional journey.

This is a charming, beautifully illustrated story that explores imagination, self-doubt, fear, and dreams of adventure, all while encouraging positive self-perception. There’s a subtle sense of escapism—almost Joycean in its emotional scope, but also encompassing a strong thread of belonging. It reminds us that while we are free to dream big, we are always loved exactly as we are.

The accompanying music is gentle and reflective, built on sparse piano and strings that add emotional resonance. The vocal delivery carries a hint of Bonnie Tyler, gradually building in intensity as the arrangement unfolds, mirroring the growing imagination of the child. There are even shades of Frozen in its cinematic progression. Translating such lyrical sophistication into music is no easy feat, yet Noller meets the challenge with considerable flair.

Beneath the poetic surface lies a clear and meaningful message. This is, at its core, a story about overwhelm, about learning to manage big feelings and understanding that such emotions are a natural part of being human. Through its resonant words and striking imagery, the book gives children space to explore their emotions and develop healthy ways of coping. Ideally, it leaves them feeling reassured, ready to let go of worry and simply enjoy life.

It’s said that the book was inspired by the experience of living in the shadow of an older sibling, of feeling the need to take up less space. It’s a sentiment many will recognise. Embracing one’s own 'bigness' can take a lifetime, which makes lessons like these all the more valuable when introduced early.

Whether through music or literature, Kim Noller has managed to blend these two distinct art forms into the type of musical storytelling that is both joyful and meaningful. Her work radiates a genuine love of life, combining sound and vision to create art that is engaging, uplifting, and deeply empathetic. Underpinned by a strong child-centred ethos, her work champions kindness, connection and inspiration.

Kim Noller – music, literature and imagination.

Album Review: Together – Heather Feather

Heather Feather has once again delivered a delightful new album, destined to get little feet bopping all around the world. I am referring, of course, to her latest release, Together, a highly infectious piece of perfect pop featuring ten new songs that all hit the mark. The music is put together with deep intelligence and extraordinary imagination, composed for children yet resonating with all ages.

The album opens with the collaborative 'Party', a song which features some of the very best in children's music, including Itty Bitty Beats, Preschool Rockstar and Esther Crow. The track brings to mind Bowie's 'Fame', with an infectious groove providing the framework for a delightful melodic celebration of friendship and fun. The musicianship is superb, and it sounds like the kind of party we would all want to attend, because 'everyone is welcome' here. The focus is on who you are, not what you represent. There is a smooth transition between vocalists, adding a dynamic quality in true Band Aid tradition.

'Fill Your Bucket' does exactly that, a jaunty song that emphasises positivity and celebrates the wonders of life, including the supreme gift of friendship and family. The happiness bucket is explored through acts of kindness, where simple gestures allow 'the happiness to flow'. 'I'm Good Enough' follows in a similar vein, confronting reticence and fear head on, presenting anxiety as a natural part of life, and reminding us that doing 'our best' is enough, because 'I'm good enough'. The music reflects this message with a cool, relaxed vibe, punctuated by superb bass lines and light percussion, creating space for the vocals to take centre stage.

'The Angry Song' shifts up a gear and delivers some good old-fashioned rock and roll, in a Grease-inspired Americana style. A twelve bar blues structure gives way to a gentle, reflective refrain that draws the listener in. 'Nightmare' continues to explore life’s challenges, this time with a shuffle drum beat and a big band feel that would not sound out of place in a 1950s film. The piano has room to flourish, bouncing along and sparring with the vocal, evoking a timeless quality reminiscent of something Doris Day might have recorded back in the day.

'Empathy' is a soulful ballad, with heartwarming lyrics full of sincerity and melodic charm. 'Include Me' is slightly more upbeat, continuing the theme of kindness, with lyrics that emphasise the importance of being seen, having 'someone to share' and 'someone to talk to'. The chorus delivers the message clearly, while a haunting harmony adds an additional layer of musical sophistication.

My favourite track is the wonderful 'Happy For You'. A staccato rhythm pairs with a melodic vocal, with lyrics that continually search for the positives. As a result, the song exudes a generosity of spirit, captured perfectly in the line 'I'm happy for you'. A song for all occasions, guaranteed to hit the spot, even when experiencing the darkest of moods. 

'Sharing (Is Hard to Do)' boasts a title that is self-explanatory. The lyrics explore the challenges children face when learning to share, particularly those who are 'not ready to share yet'. The song bounces along with a honky tonk piano that dazzles throughout with both dexterity and precision. Here, the artist tackles a complex message with a lightness of touch, and manages to thread the needle with confidence and expertise Fortunately, the song ends on a positive note, and finishes with a flourish as children begin to recognise the benefits of sharing while still maintaining their boundaries.

The album closes with 'A Fishy Tale', a song built around a cool bass line in true Robert Smith 'Love Cats' style. The bass carries the track, while the vocal melody does the rest of the work. Jazzy and slightly left of centre, the song shifts key towards the end, adding a touch more intensity. It is a wonderful way to finish an intriguing album from a genuinely inspiring artist, one who continues to create uplifting music with a clear pop sensibility and heartfelt expression.

What can I say? Heather Feather has delivered once more. This is a wonderful addition to her ever-growing catalogue. She has a unique ability to tackle complex subject matter with ease, combining charm with musical sophistication. Blending elements of funk, pop, and jazz, the album explores ambitious themes with a strong focus on inclusion and empowerment. An active presence in the music industry, she has received numerous awards over the years, and deservedly so. She has certainly put her PhD in Music Theory to excellent use, creating engaging and uplifting music for children, not only in her home country of Canada, but across the world.

Heather Feather –  kindness incorporated.

EP Review: Drawing the Silver Lining – Riffin' Griffin

Riffin' Griffin is a kindie rock band out of Minneapolis, USA, but don’t let the ‘for kids’ label fool you. Led by the irrepressible founder Jesse Norell, a music teacher with a bona fide rock pedigree, this is a group that plays with a conviction most adult acts would envy. Their sound fuses the raw, unfiltered energy of rock with lyrics sharp enough to resonate across generations, landing somewhere between playground anthem and a proper gig-worthy setlist. I, for one, am fully on board, and luckily they’ve just dropped a punchy new five-track EP that begs to be played loud, whether you’re five or fifty.

The EP Drawing the Silver Lining kicks off with ‘Kindness', a track that feels like grunge wandered into a Britpop daydream and decided to stay. It’s driven by heartening lyrics that deliver a message of hope to young listeners without ever talking down to them. There’s a live-wire quality here, giving the sense that this band thrives on stage, feeding off the room and throwing that energy straight back at you. Lines like ‘every person is deserving empathy’ land with surprising weight, building through a brooding undercurrent before bursting into a soaring, cathartic chorus. It’s in these dynamic shifts that the band’s musical instincts truly shine, balancing grit and uplift with impressive control.

‘I Am Cringe’ is an infectious rocker where pop sensibility cuts cleanly through gritty guitars and a thunderous rhythm section. Beneath the punchy exterior lies a clear message, self-acceptance, integrity, and the freedom to be unapologetically yourself. Lines like ‘we can be cringe together’ land with real charm, turning what could be throwaway lyrics into something quietly affirming. Musically, it’s sharp and assured, with a rhythm section that drives hard and vocals that balance warmth with a commanding presence.

Introducing one of the most popular subjects for children, dinosaurs, ‘T.Flex’ exudes a playful confidence that never lets up. It’s a theme that could feel novelty driven, but instead it’s delivered with both precision and conviction. Jagged guitar work and tightly wound rhythms give the track considerable bite, while the band’s discipline keeps everything locked firmly in place.

‘Translucent’ follows with a cooler, more measured groove, building anticipation from the outset. Its hypnotic rhythm nods towards the kind of laid-back funk rock the Spin Doctors once mastered, but with a more modern edge in its execution. The vocals glide over crunching guitars, and the track shifts and surges just enough to keep things engaging. It may not be a full-blown singalong, but it’s undeniably kinetic, built for movement, if not outright chanting.

The closing track ‘Silver Lining’ takes a left turn. What begins as a loose, groove-led jam quickly evolves into something more expansive, blending styles with an almost improvisational feel. There are flashes of The Edge in the textural guitar work, while the chorus carries a dramatic vocal lift reminiscent of Annie Lennox. It’s an ambitious closer, part rock, part jazz-tinged experiment, and it pays off, with soaring vocals cutting through the complexity to deliver a memorable finish.

Across the EP, the band carves out a distinctive space where pop hooks meet grunge grit without sacrificing clarity of message. The songwriting stays focused, the performances are tight, and the production gives everything room to breathe. There’s even a faint trace of Rage Against the Machine in the DNA, though here the urgency is channelled into something more uplifting than confrontational.

This is a confident, engaging release that doesn’t overstay its welcome. If anything, it leaves you wanting more, which, for a band like this, is surely the point.

Riffin' Griffin – let there be rock.

Single Review: Snow – Big Idea Committee

'Snow' is the latest single from Christine Petrini and Melissa Brun, the innovative duo behind Big Idea Committee. At its core, the track feels like a piece of poetry set to music, beautifully sung and delivered with rare, heartfelt sincerity. This gentle ballad is crafted with delicacy and finesse, pulling at the heartstrings while stirring the imagination in equal measure.

There is something universally nostalgic about songs centred on snow, the substance that brought so much joy in childhood, from snowball fights and sleigh rides to the anticipation of Christmas in many parts of the world. Countless ballads have tried to capture that magic-in-the-air feeling, and Big Idea Committee succeed in doing just that. They explore the subject with warmth and generosity of spirit, leaving the listener slightly dazed, yet never disoriented.

A soft acoustic arrangement forms the backbone of the track, complemented by serene, captivating vocals that gently draw the listener in. While the melody is strong and the vocal delivery impressive, it is the lyrics that truly stand out. The descriptive verses vividly paint scenes that linger in the mind, whether it is clear skies that 'sparkle brilliant blue' or sunlight 'glistening bright', each line immerses the listener in a quiet, wintry beauty.

At its essence, 'Snow' is indeed a poem set to music, realised with clear melodic vision and emotional intent. There is a literary quality here that feels timeless, as if the ink in the well, filtered through the blood of the poet, has frozen into something delicate and enduring. The performance carries such depth and sincerity that it evokes the spirit of many great poetic songwriters. It is reminiscent of Thomas Hardy set to music, delivered with the gentle passion of a songwriting team clearly in fine form.

Big Idea Committee also give the impression that they are only just beginning. Their work suggests a broader mission, to ignite imagination through collaboration, encouraging children to play, create and think expansively. As Oscar Wilde once wrote, 'We are all in the gutter, but some of us are looking at the stars'. There is a quiet ambition here that goes beyond the song’s delicate exterior, this is a duo reaching upward, who are already well on their way.

Though still a relatively new project, with just one album to their name, they have already demonstrated remarkable versatility. Their music blends diverse sounds and styles with thoughtful cohesion, where nothing feels accidental. With live instrumentation and carefully matched themes, their work shows a level of musical intelligence reminiscent of artists like Kate Bush or Dido, and yet still aimed squarely at children.

It is well worth exploring more of their work, because this is clearly music on a mission. A look at their wider catalogue reveals the influence of musical theatre and live performance, creating an engaging, interactive experience, particularly for younger audiences. Whether they ultimately 'reach the stars' remains to be seen, but even if they don't, one suspects they will land on top of the world.

Big Idea Committee – poetic justice.

Single Review: Interspecies Communication – Marko Polo

Another fascinating release from the ever-inventive Marko Polo. I’m referring, of course, to 'Interspecies Communication', his latest single – an intergalactic trip where ‘the frogs are talking to the cats’ and ‘talking to the trees’, in true Doctor Dolittle fashion.

There’s an underlying sense of unease in the music, with a tone that occasionally feels almost sinister. At times, it’s as if Captain Kirk has just beamed down with his crew to some strange, exotic world. Then, just as you’re settling into that atmosphere, the track closes with a riff that wouldn’t feel out of place on a Status Quo record, a final flourish that drives the whole experience home. The instrumentation is refreshingly raw, clearly performed live, and all the more engaging for it.

Structurally, the song leans heavily on its chorus, which takes centre stage and recurs throughout with a stop-start rhythm that feels almost like a march into this brave new world. The bridge shifts gears into something more haunting and melodramatic, where a simmering vocal wrestles with bursts of guitar intensity, both elements colliding and blending seamlessly within the broader wall of sound.

This is a track that stands confidently on its own, original, thought-provoking and consistently engaging. Its lyrics take us on an imaginative journey, evoking something akin to the cosmic wonder of 'Starman' by David Bowie, where we’re invited to tune in and observe from the outside, as if hovering just beyond the world itself.

Unafraid to experiment, Marko Polo blends live performance with layers of sound effects to create a universe rich in mystery, intrigue and curiosity, one where the imagination is free to wander where no one has gone before.

Marko Polo – space, the final frontier.

Single Review: In the Neighborhood – Kymberly Stewart and A Trillion Skies

Watch out for this one! Kymberly Stewart has teamed up with A Trillion Skies on their new single 'In the Neighbourhood' and in doing so have created a perfectly crafted, jaunty classic. There is something of a divine combination at work here, where crystal-clear vocals meet the type of sumptuous melody that immediately captures your attention.

The arrangement is deceptively simple: sparse bass and drums, an intricate piano carrying the core, and a horn section adding warmth and texture. The result is a track dripping in optimism, where we are friends with everyone and 'we know that every day will be a sunny day'.

The vocals move seamlessly between each artist, offering their own particular brand of beauty to the proceedings. The narrative provides a sense of continuity, reinforcing the optimism of 'unity and community', where we all belong in the neighbourhood. The song truly exudes 'an electric feeling', where the simplicity of life is celebrated.

A reflective bridge reminds us that life can be tough, but a real sense of belonging carries us through. The track swims in nostalgia, evoking a seventies Americana where the TV generation spilled out onto the streets, recreating the worlds they saw on screen.

This is a tremendous song, a true feel-good classic that is both inspiring and easy to dance to. It celebrates the gift of life, and the importance of friendship within the community. Unlike Tom Waits's darker, introspective portrait of neighbourhood hardship, this song does the very opposite and lets the light in.  With lyrics that celebrate the importance of friendship, community and the quiet certainty that home is where we truly belong. 

It's also worth watching the official YouTube music video, which adds another layer of charm, perfectly complementing the song’s uplifting spirit. With a warm, nostalgic aesthetic, it brings the sense of 'unity and community' to life through vibrant, feel-good visuals. There’s a natural ease to it all, nothing feels forced, allowing the joy of the song to shine through in every frame. It’s the kind of video that invites you in, making you feel like part of the neighborhood it celebrates.

Kymberly Stewart and A Trillion Skies – the perfect match.

EP Review: Cinco Canciones En Español – The Laurie Berkner Band

Let me start with this: my Spanish is extremely limited. I can confidently say hola and gracias, but beyond that, things get pretty shaky. So when I was given an early listen to The Laurie Berkner Band's forthcoming all-Spanish EP, Cinco Canciones En Español, featuring Spanish-language versions of some of her best-known songs, I was both intrigued and slightly intimidated. How do you review music when you can’t connect with the lyrics? As it turns out, it’s not that difficult, you just have to listen differently.

Within the first song, it became clear that what makes this music work goes well beyond language. Her voice is still warm, playful, and unmistakably inviting. You can hear the energy shift between tracks. The bouncy ones practically demand movement, while the gentler ones feel designed for winding down. Even without understanding the words, the emotional cues are clear. Tempo, repetition, and vocal inflection do much of the heavy lifting. Certain phrases recur often enough that you begin to recognise them by sound alone, even if you couldn’t define them.

What impressed me most about this EP is that it doesn't feel like a side project or novelty release. The Spanish flows naturally within the melodies. Nothing sounds awkward or forced. The songs feel intentional and thoughtfully produced. For families unfamiliar with Spanish, the EP works as a gentle introduction, exposure without pressure, where the listening experience feels less like a lesson and more like an emotional journey.

They say that when one sense is diminished, the others become more pronounced. Similarly, not understanding the lyrics forced me to pay closer attention to the music itself, and there’s a lot to appreciate here. 'Esperando El Elevador' (Waiting for the Elevator) features vibrant acoustic guitar and a clear, expressive vocal that sets the tone for the EP in fine style. It’s incredibly catchy and brilliantly executed, with delightful children's backing vocals chiming in along the way. 'Mi Conejito Brinca' (My Bunny Goes Hop) is upbeat, lively, and bursting with energy, offering plenty of opportunities to join in with the animal actions, encouraging active participation throughout. I'm sure it would be a huge hit both at home and in the classroom.

'A-B-C En Español' (The Spanish Alphabet Song) ensures that learning the alphabet can be both engaging and fun, with a very effective call-and-response vocal working alongside some tasteful acoustic guitar and piano throughout. 'Somos Los Dinosaurios' (We Are the Dinosaurs), one of Berkner’s most recognisable songs, is reimagined here in Spanish, with all its stomping rhythms and clever use of dynamics intact. The EP finishes with 'Escucha Los Sonidos' (Listen to the Sounds), a gentle ballad that gives the listener space to exhale and unwind. The track drifts on waves of melody, tugging at the heartstrings as it softly serenades. Yet there's an undercurrent of quiet uplift, so much so that by its close, even the birds get to join in.

So, did I suddenly become fluent after five songs? Of course not. However, I did connect with the warmth and joy contained here, and that’s what truly great children’s music does: it communicates beyond vocabulary. This EP proves that you don't have to understand every word to feel something deeply. The Laurie Berkner Band has once again raised the bar, doing so with confidence and craft, allowing cultural barriers to fade into the background while the music takes centre stage. The EP will be available everywhere on March 20.

The Laurie Berkner Band – no translation required.

10 Songs for Harmony Week

Harmony Week (16–22 March 2026) is a time to celebrate inclusion, respect and the rich cultural diversity that helps shape our communities. Music feels especially fitting for the occasion, because few things bring people together quite so naturally. Although this post refers to Australia’s Harmony Week, the spirit behind these songs is universal.

For this Harmony Week playlist, I’ve chosen ten songs that speak to belonging, kindness, unity and community in different ways. Some are joyful and uplifting, some are reflective and reassuring, but all of them capture something of the spirit of harmony.

1. Different but the Same by The Mik Maks

This song captures one of Harmony Day’s central ideas beautifully: that our differences do not diminish our shared humanity. Its message is simple, direct and easy for children to understand, while still carrying real emotional weight. It is the kind of song that opens the door to meaningful conversations about identity, respect and belonging. In essence, 'we're all different but the same in different kinds of ways'. 

2. Better Together by Pevan and Sarah

As the title suggests, this is a song rooted in togetherness and unity. Its upbeat feel makes its message especially accessible, turning inclusion into something joyful and celebratory rather than abstract. It is easy to imagine this one bringing people together in classrooms, assemblies or community events. After all, 'our world is full of diversity' and all the better for it because although 'we come from different places we all belong'.

3. The Hand of Friendship by the Fabulous Lemon Drops

Warm and inviting, ‘The Hand of Friendship’ celebrates kindness as something active and generous. The image of friendship being offered so openly gives the song an immediate sense of welcome.

Together, these opening songs set a warm and welcoming tone, showing how music can make ideas like inclusion and belonging feel immediate, joyful and real.

4. To Everyone in All the World by Raffi

There is something expansive and generous about this song, reaching outward with a message that feels broad, inclusive and full of empathy. It suggests a view of community that goes beyond the immediate and embraces a wider sense of shared humanity where 'we can all shake hands'. That makes it especially fitting for Harmony Week, which encourages children to think beyond themselves and appreciate the world around them.

5. We Belong Together by Ukubebe

This song speaks directly to the desire for connection and community. Its message is reassuring, offering a sense of unity that feels both personal and collective. In the context of Harmony Week, it reinforces the powerful idea that belonging is not something reserved for a few, but something everyone deserves to feel. Because in the final analysis 'I like you and you like me', and 'we belong together'.

6. Harmony Day Song by Spotty Kites

Sometimes the most effective songs are the most direct, and ‘Harmony Day Song’ wears its purpose proudly. It captures the values of the day in a straightforward, accessible way that makes it ideal for younger listeners. Beautifully sung, clear in message and celebratory in spirit, it feels perfectly designed for group participation. Where we get to 'sing out for peace, sing out for hope and sing out for love'.

By this point, a clear thread has emerged: each song approaches harmony in its own way, yet all of them point back to the same core values of welcome, respect and togetherness.

7. Harmony by Fyütch and Aura V

Fyütch often brings thoughtfulness and energy together in a way that feels both engaging and purposeful, and ‘Harmony' is no exception. The song’s hip hop feel helps its message land with freshness, while still centring ideas of unity and mutual understanding. A song about gratitude, that gives the playlist a slightly different texture, showing that songs about harmony can be contemporary, dynamic and full of personality.

8. Culture Everyday by Culture Queen

This is a strong inclusion for Harmony Day because it moves beyond vague celebration and points toward culture as something lived and present in every day. Rather than treating diversity as an occasional topic, it suggests that culture is woven into ordinary life, identity and community. This gives the song an added depth and makes its message particularly resonant. Where we get to 'celebrate our culture everyday'.

9. Peace by Music with Michal

Simple in title but expansive in meaning, ‘Peace’ brings a reflective note to the list. Songs like this often remind listeners that harmony is not only about celebration, but also about understanding, compassion and the hope for a gentler world. It offers a moment of calm reflection within the playlist’s broader sense of joy. For Harmony Week, it works as a reminder that harmony often begins with small gestures of openness and connection. A gentle song with a powerful message emphasising the importance of 'harmony, equality and diversity'. 

Taken together, these songs show that harmony can be expressed in many ways – through friendship, shared celebration, cultural pride, empathy and the quiet hope for peace.

10. I’d Like To Teach the World To Sing by The New Seekers

This classic closes the list perfectly because it remains one of the most recognisable musical expressions of unity and togetherness. Its melody is instantly inviting, and its message about collective joy still resonates decades later. For Harmony Week, it feels like both a celebration and an aspiration: a vision of a world connected through kindness, simplicity and song.

Together, these ten songs make a fitting soundtrack for Harmony Week, each reflecting the values of inclusion, respect and belonging in its own way. Some celebrate friendship, some highlight cultural diversity, and some remind us of our shared humanity, but all of them point toward the same hopeful idea: that harmony is something we create by listening, welcoming and making space for one another.

Looking for more?

I’ve also curated a Spotify playlist around this theme with all of these songs plus additional tracks for teachers, families and young listeners who want to keep exploring.

Single Review: Ride the Wave – Again Again

'Ride the Wave' is the latest single from the effervescent family-music duo Again Again. It’s a highly melodic song steeped in empathy, capturing the kind of connection that defines the finest examples of the genre. In essence, a jaunty slice of pure pop brimming with positivity and irresistible harmonies.

Written and performed by Anne Montone and Jen Cook and produced by the irrepressible Mista Cookie Jar, the track is undeniably catchy. It offers reassurance for anyone feeling low and reminding listeners that things will ultimately work out and that ‘it’s okay to cry'. The production is deft and understated, employing a lightness of touch that never overwhelms the message, instead allowing the song’s emotional core to breathe.

Beginning with a minimalist arrangement, the music gradually unfolds into something richer and more textured. Imagine an innocence-tinged echo of 'Strawberry Fields Forever' that gently expands into something resembling a small concerto for a rainy afternoon. The lyrics reinforce the point, persuading the listener that despite life’s inevitable setbacks, we are encouraged to ‘ride the waves’, because hard times are only temporary. This gradual musical expansion mirrors the song’s emotional arc, reinforcing its central message without ever becoming heavy-handed.

Featuring soaring harmonies and buoyant energy, the performance is delivered with a fullness of heart that feels entirely genuine. The instrumentation charms throughout, blending sounds that entice and delight in equal measure. At times the music feels as though Bob Marley has wandered into a studio session with Debbie Harry on the set of Sesame Street – playful, warm and simplistic, and yet harnessing a level of musical sophistication rarely encountered in family pop.

This is a confident and uplifting single celebrating empathy, creativity and connection, offering proof that kindness, courage and a glimmer of musical magic can wipe away even the deepest tear stain. Its message is quietly powerful: whatever comes our way, we can cope, with a tear in our eye or a smile on our face. And in doing so, we will not only survive, but thrive.

Again Again – always look on the bright side of life.

YouTube Channel Review: TOCK.earth

TOCK.earth is the brainchild of New Zealand children’s musician and teacher June Burney and her husband Ian. Together, they have created a charming and thoughtful YouTube channel, Tock-dot-Earth, that blends music, storytelling, and environmental awareness.

At the centre of the project is TOCK, a time-travelling robot on a mission to help save the planet. With a steady beat in his circuits and a big-hearted desire to save the Earth, TOCK guides viewers through a colourful musical world where catchy songs meet powerful environmental messages.

The care and effort behind the project are obvious. Burney and her husband have collaborated with children, families and schools around the world, weaving together a global montage of beautiful clips that give the channel a warm, authentic feel.

There are only about a dozen videos on the channel so far, but teachers would be wise to take notice. This is very much a case of quality over quantity. The creators are not chasing algorithms or trends; their work is driven by a genuine love of music and a heartfelt desire to inspire young people to care for the planet.

The songs themselves are engaging, melodic and instantly accessible. Covering themes such as biodiversity, forests and ecosystems, the channel delivers environmental education in a way that feels joyful rather than didactic. It’s easy to imagine these songs becoming classroom favourites, or perhaps even household sing-alongs.

Two videos in particular stand out.

'Out in Nature' is a beautifully crafted track with a gentle Celtic flavour that celebrates the sensory wonders of the natural world. The accompanying video, told through the perspective of childhood curiosity, captures the lyrics’ invitation for children to experience nature directly through catching raindrops on their tongues, watching autumn leaves fall, or feeling snow in their hands. The video is fully signed for the hearing-impaired, making it inclusive and accessible to all viewers. It delivers these moments with considerable expertise, reminding us that nature’s greatest treasures are freely available to anyone willing to step outside.

Another highlight is 'Habitats', a colourful animated video with a playful Latin-rhythm song. Packed with lively animals and vibrant visuals, the video introduces children to the idea that every creature has a home worth protecting. The melody is infectious, the animation charming and the message clear without ever feeling heavy-handed.

In short, TOCK.earth is a creative project with heart, brought to life on the YouTube channel TOCK-dot-Earth. Through catchy tunes, playful storytelling and beautifully assembled videos, the creators have produced something both entertaining and meaningful. Whether it’s trees, oceans, wildlife, or recycling, each song on the channel nudges young listeners toward a greener future. Perfect for classrooms, living rooms and car sing-alongs alike, TOCK.earth is well worth discovering.

TOCK.earth – music with a mission.

Single Review: Try Again – Tembra Campbell & Mista Cookie Jar (feat. Lyrin Donley)

Tembra Campbell is a songwriter and storyteller whose subject matter centres on nature, imagination and emotional resilience. Through her children’s project, Tembra’s Treeehouse, she creates warm, melodic songs inspired by the natural world, animals and those quiet moments where curiosity thrives. Her music also ventures into mindfulness territory, encouraging children to slow down, take a deep breath and notice the everyday magic that surrounds. While some may dismiss the idea of miracles, Campbell recognises that each day holds its own small wonders, and that children can find comfort in persistence and in not being afraid to try again.

The new single 'Try Again' is really quite superb. It is bursting with the kind of vitality that Dylan reinvented back in the day. The music is built around a shuffle rhythm that playfully spars with a banjo, woven tastefully into the arrangement. The harmonies are excellent throughout, and the arrangement bounds forward with considerable purpose. 

Mista Cookie Jar joins the fun for this barn-dance romp, bringing a confident, rhythmic vocal that adds a fresh contemporary edge to the recording. His contribution introduces a vibrant hip-hop flavour that contrasts beautifully with the rootsy instrumentation, creating an unexpected but thoroughly engaging fusion of styles.

It’s also worth mentioning Campbell’s daughter, Lyrin Donley, who adds her own touch of sparkle, bringing an extra layer of warmth and familial charm to the collaboration. Her voice blends effortlessly into the harmonies, subtly enriching the texture and reinforcing the song’s joyful, communal spirit.

Evoking the gentle warmth of a 1930s recording, a quality that adds to its sense of character and authenticity. The song invites the listener to imagine a stroll down Tin Pan Alley, celebrating its rich musical heritage and evoking a period when music often brought people together during difficult times. One could picture it accompanying the closing scene of a Depression-era American film, where families gathered to 'feed our friends and family',  finding comfort and connection despite life’s hardships.

Irresistibly catchy from the first listen, the song circled my head all day, such is the strength of its melodic hook and lyrical charm. ‘Practice makes perfect’ may be a cliché, yet here it feels freshly minted, reinforcing the idea that repetition and perseverance are the true paths to growth. Kindness, resourcefulness and community spirit sit at the heart of this affectionate nod to the past, urging us to ‘trust the process’ because, ultimately, it will all come good in the end.

At its core, 'Try Again' is about patience, resilience and, perhaps most importantly, the sheer joy of making music together. A feel-good anthem guaranteed to lift even the gloomiest of days, it succeeds through its unpretentious charm. Rhythm and melody dance alongside gently instructive lyrics to offer a reassuring message: that life’s challenges can be unexpected blessings, building resilience and fostering hope for the future. As Samuel Beckett famously wrote, “ Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.” Campbell’s song captures that unrelenting spirit, where we are encouraged to keep dancing despite any odds that may be stacked against us.

Tembra Campbell and Mista Cookie Jar – a message of hope.

Artist Spotlight: Captain Festus McBoyle

Captain Festus McBoyle is an exciting family entertainer and musician from New Zealand who combines storytelling and rollicking melodies, alongside a healthy disregard for musical convention. On stage, he delights audiences with stunning costumes, imaginative sets, and the antics of his colourful crew, including Miss Lucy Drawers and the world’s strongest man, Ebenezer Strong. However, Captain Festus is much more than a costume character. He is a fully realised persona: part sea shanty singer, part comic storyteller, engaging children by inviting them into a world where pirates sing, nonsense reigns supreme, and imagination is very much the order of the day.

Before children become aware that music has rules, they learn that it can also be heaps of fun. That includes loud fun, chaotic fun, silly – or even slightly unhinged – pirate fun. Captain Festus sails straight into that space, where rhythm, story and humour collide, proving that children’s music doesn’t have to be polite to be powerful.

Rather than approaching children’s music as a teaching tool first, he always prioritises the performance itself. The songs feel closer to musical theatre or live storytelling than traditional ‘kids’ songs’, with exaggerated characters, narrative arcs and copious playful asides. The music thrives on the unexpected: lyrics twist and turn, stories veer into absurd territory, and Captain Festus himself rarely behaves as a good role model, in the most likeable way. A true larrikin and master of the absurd, he brings music and mayhem to the masses, pushing boundaries while somehow always coming out on top.

Such irreverence is precisely what sets this artist apart. Captain Festus stands alone, breaking the usual rules of children’s music and providing a refreshing point of difference within the genre. The songs give permission to laugh, question, and delight in this theatre of the absurd, while remaining deeply engaged with language and story. Such a balancing act is no easy feat, but Captain Festus intrinsically understands his audience, cultivating both intrigue and fascination in young listeners along the way.

With his latest album, The Prose and Cons, he doubles down on what he does best: wordplay, theatrical delivery and gleeful excess. The title alone sets the tone: clever, self-aware and slightly cheeky. This is an album that revels in language, where lyrics spill over with absurd detail. Phrases twist unexpectedly, and songs feel more like miniature stage productions than conventional tracks. At the heart of each song is a story, whether spinning a pirate tale or plunging listeners into a nautical misadventure, the songs rely on narrative momentum, vivid imagery and strong character voices.

Captain Festus is never happier than when telling a story, and he even opens the album with a poetic introduction. In the opening track, ‘Brand New Day’, he contemplates the day ahead and all its infinite possibilities. Children don’t just get to meet him, they engage with his infectious personality and look forward with anticipation to the incredible adventures that lie ahead.

The album features a variety of styles and sounds throughout this rollicking journey. ‘A Slight Snag’ is upbeat and lively, almost venturing into ska territory, with lyrics that celebrate repetition and absurdity. ‘Layered by the Plague’ incorporates flamenco influences, complete with Spanish guitar flourishes and theatrical sound effects. ‘Cat Be Free’ offers a slice of country, including yeehaws and cowboy flourishes along the way.

‘Boyle 'em Up’ dives headfirst into bluegrass chaos, including cannibal themes to boot, while ‘Mr Cheese if You Please’ features a piano accordion in full pirate jig mode. ‘Slug’ flirts with heavy rock, whereas ‘Sonnet of the Sad Seahorse’ descends into underwater ambience, complete with ocean sound effects that feel as if they’ve been plundered from a pirate’s locker by Brian Eno.

A personal favourite is the wonderful ‘BABY RAP’, a collaboration with Secret Agent 23 Skidoo. The track blends a noticeable country vibe with what sounds like hip-hop-style rhythmic vocal patterns and additional DJ scratching. Though I admit I’m not an expert in hip-hop, for me the music creates something of a genre mash-up that feels both unexpected and oddly fitting. The song is playful, rhythm-driven and delightfully strange, with the Captain fully immersing himself in its chaos. A slide guitar competes with an unrelenting beat, where traditional rules are seemingly thrown out of the window. The song exudes a vibe slightly reminiscent of ‘Walk This Way’ when Aerosmith and Run-DMC shared the spoils in the 1980s.

Another standout track is ‘Holding the Baby', a rollicking glimpse into pirate domestic life – exaggerated, swaggering and intentionally over the top. If you’re looking for political correctness, you won’t find it here. The song is acutely aware of its anti-feminist pirate bravado, but plays it for comic effect rather than taking a political stance. In contrast, ‘Full Sails, No Glamour’ presents a live rendition of a pirate’s lament, adding emotional depth and reminding listeners that even comic characters can possess dramatic nuance.

On this album, Captain Festus reminds us that children’s music can be strange, theatrical, and joyfully subversive. Always pushing the boundaries of acceptable entertainment, he succeeds because he is unafraid to experiment. Much like Roald Dahl, he recognises that children are more perceptive than often credited, able to understand both light and dark, and to appreciate the humour in each.

All in all, The Prose and Cons is an intriguing album from an unusual artist who manages to educate and entertain in equal measure. For young listeners, his story-driven songs foster listening stamina, comprehension, and imaginative thinking, without ever feeling like a lesson. Captain Festus exists outside any traditional music lane, unafraid to push the envelope and experiment where necessary. The arrangements are bold, the themes unconventional, and the humour aimed squarely at entertaining both adults and children alike. Self-deprecation is the order of the day, placing humour above protocol, where ‘there’s no glamour at all'.

Captain Festus McBoyle – always outside the box.