Crispin Halcrow could well be the greatest ‘Twister’ player you’ve never heard of. Almost ten years since leaving the quiet surroundings of a sleepy home-town in the Lake District, he’s left a toe in York, a foot in Liverpool and reached out, arm-extended for London; quietly building a reputation for breathtaking, intimate performances off of the back of shows alongside the likes of The Howl and The Hum, Tiny Ruins, Elanor Moss and Kaia Kater. Often appearing with a solitary microphone and a guitar, occasionally with a full band in tow; his gentle, anguished vibrato and haunting instrumental work silences cafes and concert halls alike.
The recalled debut four track ‘The Things I’ll Keep EP’, was the then-seventeen year old’s musings on grief, love and loss, drawing many comparisons to Seth Lakeman, John Smith and Damian Rice. However, a growing feeling of discontent with this first offering, and a glut of touring, session work and co-writes, was the catalyst for a five year hiatus from the front of the stage.
Now in his late twenties, Crispin steps from the role of sideman into the studio of Mike Halls (Clean Cut Kid), bringing a fresh face and modern take to the classic romance of a folk troubadour.
Recorded for a few hundred pounds; a favour for fixing the rare, faulty tape machine languishing in ‘The Dead Room’ (the spare bedroom turned studio in Mike’s flat), Sunday Night in Liverpool (releasing December 2024) is a brutally candid account of a life flipped upside down. Whether dissecting the second-hand bereavement of a would-be father in law, the covert removal of goods from a once shared flat, or the admission that he never really liked your mother, this lovingly crafted stream of one-take tape wobble is a hug from an old friend that just wants to know it will all be okay in the end.

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