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”