Press Talk

Nightshift Magazine – Common People Oxford Review  – June 2018

Up against The Jacksons, DEADBEAT APOSTLES play to a smaller crowd than they deserve, particularly since they put on a far more inclusive and uplifting show than their somewhat rambling mainstage counterparts. With not one but two show-stealing singers, their mix of r’n’b bangers and bottom-of-a- glass laments bridge the gap between afterhours blues shack and big stage soul revue and they bring to a close a day that threatened a wash-out but delivered a genuine celebration of what’s best in Oxford music. Dale Kattack 

Nightshift Magazine – The Day of the Deadbeats Album Review  – May 2018

From a six piece band you could describe as seasoned and gnarly, you’d expect the debut album by The Deadbeat Apostles to be a straightforward, evangelical, hoe-down blues romp: the kind of shit-kicking rowdiness they are adroit at regularly starting across the county. But laid out in the round, their party pieces, given the chance to show their heritage and breadth, take on a higher level of musical wisdom and reverence. This is largely due to being individually fronted by two very special singers: Mike Ginger, whose rampant gusto can swing from a raucous Roger Daltrey on first track ‘Awkward Age’, all the way over to an urbane cowboy Mick Hucknell on ‘Can’t Stop The Rain’ and ‘Man Who Sold His Soul’, and Michelle Mayes, a real soulful belter in the mould of Eddi Reader who totally commands her tracks `Stand Up’ and ‘Gonna Be Different’. Better still, when their alchemy is corralled into a duet on the heavenly country of ‘Lonesome’, their combined qualities ooze out of a real peach of a song. The band’s solid music ranges wildly too, with a clutch of rocking intro riffs that would make Keith Richards fall out of his coconut tree with excitement, notably in ‘Back Lane Blues’, and the eye opening ‘Dutch Rudder’ (a hearty paean to being aided with your own onanism). They are equally at home with spiritual Americana and the deep South, with the O Brother, Where Art Thou? chug-a-lug of ‘Shall Not Repent’ showing huge rhythmic depth, alongside the slow hand National guitar twang of ‘Bigger Man’ . So if you’re one of the breathless crowd, palpitating dangerously at the end of one of The Deadbeat Apostles’ gigs, wondering if buying the album would match and extend the evening’s joy in your front room: it does, and a whole lot more besides.
Paul Carrera

OMS – Oxfordshire Music Scene – Album Review May 2018

Oxford had a long wait for the spirit of country music to seize it by the scruff of the neck. Recently we had Frances Pugh and the Whiskey Singers, Great Western Tears and even manic yodelling from the Original Rabbit Foot Spasm Band. But it’s taken Deadbeat Apostles – six wayward spirits – to up the game. Day of the Deadbeats chandeliers off of gutsy crescendos and garage band guitars, with early-Nashville dripping from their strings. Backlane Blues and Bigger Man are among standout tracks here, all clanging forward in glorious, clumsy, Exile on Main Street chaos. Vocally, the group sound like Fleetwood Mac being throttled in an Alabama chicken shack by the ghosts of Hank Thompson and Kitty Wells. And believe you me country folk, anyone who throttles Fleetwood Mac is a pal of mine. (JB)

Nightshift Magazine – The Cellar Review  – November 2017

If The Shapes are Wigan Casino via The Roxy, The Deadbeat Apostles are the place where The Grand Ol’ Oprey meets Harlem Apollo, steel guitar twang and Mike Ginger’s big, rootsy voice up against the phenomenal Michelle Mayes, a full-on soul belter who should be leading her own revue. Most band struggle to have one decent singer; that Deadbeat Apostles have two seems positively selfish. They’re more than generous with their good vibes though, one minute sounding like Percy Sledge gone rodeo crazy, the next going all cheesy on a song that to all intents and purposes could be The Mavericks doing a mash-up of `Eye of the Tiger’ and `Jean Genie’. By the end they’re knocking out pure goodtime roadhouse r’n’b like bedtime doesn’t exist. It does of course but we wake up Saturday morning to a text from a friend reminding us about our dancing. It takes something to get cynical old Nightshift’s feet moving but even we enjoy the good times when they’re served up so well.
Dale Kattack

Rhythm and Booze Review – Wychwood Festival

“Oxford based, The Deadbeat Apostles continued the rootsy vein over at the Hobgoblin stage with a set of soulful Americana and stripped back, driving country rock, with the likes of Blood On My Pillow, Man Who Sold His Soul and the Stax Records inspired Can’t Stop The Rain, proving that the UK is producing acts on par with anything from Nashville.”

DailyInfo Review – The Old Fire Station Oxford

“The band were ably supported by local country rock act, The Deadbeat Apostles. As well as having perhaps the two best dressed lead singers this side of the Atlantic, the band brought to the stage an old-fashioned, American-tinged style that is as endearing, as it is familiar.”

Oxfordshire Music Scene Review – Summer 2017

“If the Deadbeat Apostles take their visual cues from Jose Guadaloupe Pasada then their musical nonce might come from The Cramps or Carl Perkins. In fact they could have taken their cues from any group who wield retro guitars, on any stage, anywhere west of NYC where you’d struggle to fit a matchbox, or your 1950s second hand clothes. They are the type of assembly who could make a bastard of an album. However, for now, Oxford must suffice with their new EP on which Male Man and Badfoot are the standout tracks. Their recent support slot with The Long Insiders split middle-aged eardrums. Tinnitus turned up to 11.” (JB)

Nightshift Magazine – Demo of the Month February 2017

“Blimey. Due to the absence of much available online music until now we’d always had The Deadbeat Apostles down as a bluesy country act (what little we could ever find certainly was). This set of songs blows that early impression pretty clean out of the water. There is a distinct country element at play, notably in the slide guitar and twang of sultry opener `I Can’t Stop the Rain’, but it’s way more soulful than we’re expecting, with some rich, gospel-flavoured backing vocals to lift it all up several levels. `Pilgrim’s Dreams’ too is as much Nashville as it is Atlanta, with its loping gait and happyfeeling-sad vibe, but as it builds to a passionate conclusion, you’re starting to get rather more Wilson Pickett or Al Green than Willie Nelson out of it. The real banger, though, is final track `The Man Who Sold His Soul’, which is real old school soul, leading in with a sweet, understated Percy Sledge feel before an epic lead vocal from Mike Ginger, coupled with some seriously heroic backing vocals, make it a night to remember. The arrangement and production are exceptional and while it’s rare to get some genuine soul music in the pile, when it’s this good, it makes the wait more than worthwhile.”

What the press are saying

“They’re having so much fun in a country rockabilly, 60s British blues barrelhouse kinda way. Being different genders helps keep the vocal lines varied”

“Easy country soul from The Deadbeat Apostles”

“Oxford’s answer to the Americana scene”

“An easy country rocking outfit”

“Syrupy soul over the smoothest of the west coast”

“Like a cross between The Byrds, coke bloat era Fleetwood Mac and Dennis Wilson’s solo work”

“The classic sound of sundown”