Songs from the edge of somewhere. A place that doesn’t announce itself. You step in and can’t tell if you’ve walked into a protest, a party, or the end of something.

Conil’s music comes from the blues and from the life that followed it. A voice marked by the places it’s been.

People heard it early.
Danny Thompson said, “You don’t sound like anyone else.”
Tchad Blake still plays Strange Part of the Country.
Peter Green walked into the studio one afternoon and cut a track.

The record didn’t arrive with noise. It surfaced—four stars in Q Magazine, a Blues Matters cover, a single reaching number three on the U.S. Alternative Radio Chart.

The early years were England. Then came New Orleans, New York, Berlin, the Himalayas, Kilimanjaro.

The second album is close now. Marc Ribot on guitar. Danny Thompson’s final sessions. Tchad Blake in Wales.

Some things reveal themselves only at the end.

Obscure music from an East London terrace.

“Shines home like a lantern” - Rolling Stone

The journey from the dark into the slightly more illuminated can be convoluted and tricky to explain at the best of times, which neatly sums up the winding path that has been Bethia Beadman’s life story.

From the West Country to the East End of London via California, (as both a Sanskrit scholar and a member of grunge outfit ‘Hole’), and a prolonged period of isolation in a lonely English seaside cottage where she composed new music and wrote her first book. Beadman is now ready to be reborn. She has a stack of newly recorded music tracked in Detroit and a near finished manuscript and is fully ready to rumble.

“Her story is the stuff that film scripts are made of. PJ Harvey meets Scott Walker” - Fiona Sturges, UNCUT

“Her music eclipses her backstory. One of the best unsung artists around.” - John Kennedy, DAZED

“True talent… feral and elemental. A rarity, an original, influenced chiefly by her own psyche” - The Quietus

“Raw power…  Oozes a powerful, spiritual modern blues” - John Robb, Louder than War

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