Glenn Kimpton

Patience and elegance define Laura Baird’s “Under Blue,” a poignant exploration of loss and grief following her father’s passing. Utilising banjo, woodwind and his classical guitar, Baird crafts a minimal, deliberate soundscape that entwines with her serene vocals. It is a masterclass in restraint—a stripped-back, beautiful celebration of life that balances the innocence of nature with the inevitability of loss.

Over two decades after their last release, Chicago supergroup Pullman returns with III, a “quietly kaleidoscopic” triumph. Recorded between 2016 and 2023 following drummer Tim Barnes’s early-onset Alzheimer’s diagnosis, the album is a poignant, abstract meditation on camaraderie. Moving from fuzz-heavy instrumentals to shimmering soundscapes, it is an elegant, deeply emotive record that rewards multiple listens with its meticulous, heartfelt composition.

Recorded in the rugged Northwest Arkansas wilderness, Chaz Knapp’s Winter Music is a haunting, solitary audio diary. By blending field recordings of whistling winds and rushing water with acoustic improvisation and weary vocals, Knapp captures the raw vulnerability of the elements. It is a powerful, “microfolk” masterpiece—a rudimentary yet accomplished immersion into the beautiful isolation of deep winter.

Glenn Kimpton looks back at the year and selects his Top Ten Albums of 2025. As he says, “This year really feels like a real banger in terms of fascinating and exciting album releases… I’m sure I say that every year, but that’s no bad thing. It was tricky choosing just ten, but each of the works…have really resonated.”

Open Guitar (Volume One) marks a return of sorts to a simpler sound for D.C Cross, celebrating peace through acoustic mastery. Blending improvisation with composition, the album offers spacious, meditative soundscapes. From the urban nature-infused Antwerp Kangaroo to the epic NEVER GIVE UP OR IN., Cross displays a lightness of touch that proves calm can be found within chaos. A welcome, honest gesture.

Mikey Kenney’s latest album, “Tiny Little Light,” is a bold, big-hearted triumph, balancing traditional fiddle music with the more experimental, idiosyncratic side of folk. Liverpool-based Kenney crafts a soundscape that is both intimate and expansive. From the village-folk energy of “Scarecrow Festival” to the rocking “The Dish and the Drain,” the irresistible interplay between Kenney’s fiddle and guest musicians make this a remarkable, smile-inducing release.

Recorded live in Montreal, this essential 10” vinyl split from Carbon Records/The Annex Blues Society offers two exhilarating, distinct sides. Side A features Sam Shalabi’s intricate, fast-paced solo oud improvisation, blending melody with technical mastery. On the flip, Liam Grant and Mike Gangloff deliver a crisp, energetic duo performance of “Salmon Tails up the River,” transforming Grant’s original solo guitar piece with intuition and drive.

Completing his solo trilogy, percussionist Joe Westerlund moves away from loose improvisation toward sturdy, irresistible grooves on Curiosities from the Shift. Inspired by the foundational clave pattern, this record weaves a rich tapestry of metallophones, electronics, and deep bass. It is a treasure trove of rhythmic exploration that feels both meditative and energetic—a euphoric, detailed album that demands and rewards repeated listens.

Robin Adams’ “The Beggar,” is a superb album. Contrasting in mood with his previous work, the nine songs feature strong songwriting alongside intelligent and often adventurous musicianship. While his fingerpicked acoustic guitar is at the core of each song, subtle strings, bowed cello, and percussion frequently enhance the sound, creating a gorgeous, elegiac atmosphere. It’s lean, creative, and packs exceptional depth, deserving many accolades.

Sir Richard Bishop’s ‘Hillbilly Ragas’ sees the veteran guitarist in devilish, free-flowing form. This terrific set of solo acoustic instrumentals subverts the rigid “American primitive” genre with a ramshackle, rhythmic, and improvised approach, adding Indian and Arabic flavours. It’s a “total banger”—vital, super-focused, and creatively brilliant acoustic music at its most exciting and intelligent.

On ‘Minnesota’, Trond Kallevåg is joined by a crack Norwegian trio: violinist Tuva Halse, drummer Gard Nilssen and double bassist Mats Eilertson. The album expertly balances jazz, folk, and ambient sounds, drawing inspiration from the Norwegian coast and the American Midwest. It’s a deft, creative, and playful recording, marked by mesmerising violin, intuitive interplay, and wonderfully dynamic soundscapes performed at the highest level. It’s also a joy to listen to.

Instrumental super-folk-trio Leveret—Andy Cutting, Rob Harbron, and Sam Sweeney—create an exceptional “warm glow” on Lost Measures. Unearthed dormant melodies are combined with new originals, resulting in eleven pieces of beautiful music. The ease with which the players converse is remarkable, demonstrating restraint, power, and impeccable performance. This is exhilarating, spellbinding stuff; instrumental music performed at the highest level.