Hollow by name, Solid rock blues by nature
Hollow Souls (with Troy Redfern) - Oran Mor, Glasgow, 4th November 2025
Hollow Souls (with Troy Redfern) - Oran Mor, Glasgow, 4th November 2025
Guitarist-singer Kris Barras, who has musically transitioned from his earlier blues rock sound to a harder hitting, highly contemporary sonic (as heard on last year’s Kris Barras Band album Halo Effect) has, with new side-project Hollow Souls, found the perfect vehicle with which to re-explore his rock-blues side, in the company of KBB bandmate, producer & multi-instrumentalist Josiah J. Manning and ex KBB singer Phoebe Jane.
In the company of touring rhythm section Paddy Blight (bass) and Chris Tilke (drums), Hollow Souls embarked on a headline UK tour to promote their excellent self-titled debut EP, which features notable guest contributions from the likes of Elles Bailey, Chris Tapp (The Cold Stares) and Jon Harvey (Monster Truck).
The Oran Mor in Glasgow hosted the second of three Scottish dates; it was also the first of a six consecutive shows run that would bring the tour to a conclusion.
In the company of touring rhythm section Paddy Blight (bass) and Chris Tilke (drums), Hollow Souls embarked on a headline UK tour to promote their excellent self-titled debut EP, which features notable guest contributions from the likes of Elles Bailey, Chris Tapp (The Cold Stares) and Jon Harvey (Monster Truck).
The Oran Mor in Glasgow hosted the second of three Scottish dates; it was also the first of a six consecutive shows run that would bring the tour to a conclusion.
Prior to Hollow Souls presenting their musical wares, resonator rocker and six-string slide slinger Troy Redfern, in the company of drummer Paul Annis, delivered a 45 minute power-duo set that helped promote his limited edition CD Retribution, which features nine all new, power-duo tracks.
The Retribution songs and sound were previewed from the off with big-beat, punkabilly rocker 'Shakin’' and 'Takin' My Soul,' a riff 'n' groove number that sat somewhere between dirty blues and tribal metal.
('Aching Heart,' another from Retribution, also made a swaggering, mid-tempo mark).
Those new songs set the raspy voiced, raucous resonator and huge beat tone for a performance that also included the semi-anthemic 'Native' (from Troy Redfern’s last album, Invocation), the swampy slide blues of 'John The Revelator,' and a full-on stomp rendition of boogie number 'Waiting For Your Love,' which Redfern brought down for an amps off, acoustic slide moment before ramping it back up for its conclusion.
The fast-paced, punk-boogie of 'Sanctify' (Troy Redfern’s set closer of choice over the last few years) came complete with an extended six-string and shifting rhythm breakdown, including some interesting middle eastern cadences.
The results were a strong and well received set in a format that has added another colour to Troy Redfern’s slide led, raucous rock-blues stylings. More power (duo) to him.
The Retribution songs and sound were previewed from the off with big-beat, punkabilly rocker 'Shakin’' and 'Takin' My Soul,' a riff 'n' groove number that sat somewhere between dirty blues and tribal metal.
('Aching Heart,' another from Retribution, also made a swaggering, mid-tempo mark).
Those new songs set the raspy voiced, raucous resonator and huge beat tone for a performance that also included the semi-anthemic 'Native' (from Troy Redfern’s last album, Invocation), the swampy slide blues of 'John The Revelator,' and a full-on stomp rendition of boogie number 'Waiting For Your Love,' which Redfern brought down for an amps off, acoustic slide moment before ramping it back up for its conclusion.
The fast-paced, punk-boogie of 'Sanctify' (Troy Redfern’s set closer of choice over the last few years) came complete with an extended six-string and shifting rhythm breakdown, including some interesting middle eastern cadences.
The results were a strong and well received set in a format that has added another colour to Troy Redfern’s slide led, raucous rock-blues stylings. More power (duo) to him.
Opening with an atmospheric guitar intro from Josia Manning and a brooding rhythm from Paddy Blight & Chris Tilke, Hollow Souls, following the introduction of Phoebe Jane (suitably attired in fetching mini kilt skirt) and Kris Barras, kicked into the swampy-stomp blues rock of 'Borderline,' the opening number of the band’s excellent, self-titled debut EP.
While promoting a six-track EP with a countrywide 20 date headline tour might seem to be rather song limited – unless, as Kris Barras cheekily suggested, "we play all six songs three times" – there is also the Kris Barras Band back catalogue to pull from or rework, as well as bringing in a number of favourite, blues-hued covers.
The mix & match of old, new and borrowed blues covers presented the perfect opportunity for the band to show their live chops, especially Phoebe Jane, a singer with a truly sonorous voice that can hit her rock vocal highs with ease (nor did she put a vocal note wrong throughout the entire set).
Indeed, while Kris Barras is bandleader and the man with the rock rep, Phoebe Jane is not just the voice of Hollow Souls, she is also their secret weapon (although the secret, now, may well be out).
While promoting a six-track EP with a countrywide 20 date headline tour might seem to be rather song limited – unless, as Kris Barras cheekily suggested, "we play all six songs three times" – there is also the Kris Barras Band back catalogue to pull from or rework, as well as bringing in a number of favourite, blues-hued covers.
The mix & match of old, new and borrowed blues covers presented the perfect opportunity for the band to show their live chops, especially Phoebe Jane, a singer with a truly sonorous voice that can hit her rock vocal highs with ease (nor did she put a vocal note wrong throughout the entire set).
Indeed, while Kris Barras is bandleader and the man with the rock rep, Phoebe Jane is not just the voice of Hollow Souls, she is also their secret weapon (although the secret, now, may well be out).
Covers and fan favourites from the back catalogue also allowed for audience participation and sing-backs a plenty, something the band encouraged from Zeppelin’s 'Rock And Roll,' right through to set closer 'Hail Mary,' the A Capella intro’d, rockin' blues nugget from KBB album The Divine And The Dirty.
Between those high-energy moments the band presented a 90 minute set that featured the EP songs, three further KBB gems and a trio of covers.
In terms of the latter, while the blues standards 'Rock Me Baby' and 'Stormy Monday' impressed (great keys play on both from Josia Manning) it was 'I Don’t Need No Doctor,' played in the slow, rhythm 'n' groove style of the John Mayer version, that stood tall as a highlight.
The latter was also a great showcase for Kris Barras and Phoebe Jane, who had fun with a great six-string call and seriously impressive scat response breakdown.
Phoebe Jane also shone on the slow blues sway of 'Tearing Me Apart,' which she first sung lead on ten years ago on the KBB album Lucky 13.
Jane also took lead on the infectious, modern R&B swing of KBB number 'Propane,' while Kris Barras was at the mic for a darker blues reworking of chant and stomp number 'My Parade,' which featured the Glaswegian choir in full "get out of my way!" cry.
Between those high-energy moments the band presented a 90 minute set that featured the EP songs, three further KBB gems and a trio of covers.
In terms of the latter, while the blues standards 'Rock Me Baby' and 'Stormy Monday' impressed (great keys play on both from Josia Manning) it was 'I Don’t Need No Doctor,' played in the slow, rhythm 'n' groove style of the John Mayer version, that stood tall as a highlight.
The latter was also a great showcase for Kris Barras and Phoebe Jane, who had fun with a great six-string call and seriously impressive scat response breakdown.
Phoebe Jane also shone on the slow blues sway of 'Tearing Me Apart,' which she first sung lead on ten years ago on the KBB album Lucky 13.
Jane also took lead on the infectious, modern R&B swing of KBB number 'Propane,' while Kris Barras was at the mic for a darker blues reworking of chant and stomp number 'My Parade,' which featured the Glaswegian choir in full "get out of my way!" cry.
As welcome as the KBB songs were, the new numbers from the Hollow Souls EP shone just as strong and, in some cases, stronger.
'Bad Things,' which carries a subtle southern rock-blues touch, featured Kris Barras on verse vocals, counterpointed by a melodic switch-up on the Phoebe Jane delivered choruses.
'Shotgun,' a mid-tempo, metal-edged rock bruiser, also featured Barras on lead vocals.
However, it was the Hollow Souls three-in-a-row towards set end that really impressed.
The rock-blues raunch and roll of 'Burn It To The Ground' featured Phoebe Jane giving it plenty of vocal sass, while 'I Need The Fire,' which featured a wickedly feisty solo from Kris Barras, brought plenty of big-beat pound and thick-riffed drive to proceedings.
Standout of the trio was the EP’s final track 'Chasing Ghosts,' a piano backed downtempo ballad that carried genuine poignancy through its subtle arrangement and personal, reflective lyric.
Sung by Kris Barras, the harmonised vocal sections with Phoebe Jane were a highlight of the entire set ("when you hear their last words fading, like the picture on the wall, you feel the weight of silence after all").
Concluding with the previously mentioned 'My Parade' and 'Hail Mary,' the band then returned to the stage with Troy Redfern for a raucous rendition of encore number, 'Going Down.'
'Bad Things,' which carries a subtle southern rock-blues touch, featured Kris Barras on verse vocals, counterpointed by a melodic switch-up on the Phoebe Jane delivered choruses.
'Shotgun,' a mid-tempo, metal-edged rock bruiser, also featured Barras on lead vocals.
However, it was the Hollow Souls three-in-a-row towards set end that really impressed.
The rock-blues raunch and roll of 'Burn It To The Ground' featured Phoebe Jane giving it plenty of vocal sass, while 'I Need The Fire,' which featured a wickedly feisty solo from Kris Barras, brought plenty of big-beat pound and thick-riffed drive to proceedings.
Standout of the trio was the EP’s final track 'Chasing Ghosts,' a piano backed downtempo ballad that carried genuine poignancy through its subtle arrangement and personal, reflective lyric.
Sung by Kris Barras, the harmonised vocal sections with Phoebe Jane were a highlight of the entire set ("when you hear their last words fading, like the picture on the wall, you feel the weight of silence after all").
Concluding with the previously mentioned 'My Parade' and 'Hail Mary,' the band then returned to the stage with Troy Redfern for a raucous rendition of encore number, 'Going Down.'
Hollow Souls may only have an EP’s worth of material at this stage, but there is no question the triumvirate of Barras, Manning & Jane, in the rhythmic company first tour time around of Paddy Blight and Chris Tilke, have already established themselves as a top-notch live act.
In that respect, and given the quality of the EP, Kris Barras now has the perfect vehicle to revisit, and satisfy his blues rock side, while the Kris Barras Band deliver his brand of harder hitting, contemporary hard rock. That’s a win-win any way you slice it.
Ross Muir
FabricationsHQ
Photo credits (all images): Scott Anderson/ Zeezee Digital Imaging
https://www.zeezeedigitalimaging.co.uk/
In that respect, and given the quality of the EP, Kris Barras now has the perfect vehicle to revisit, and satisfy his blues rock side, while the Kris Barras Band deliver his brand of harder hitting, contemporary hard rock. That’s a win-win any way you slice it.
Ross Muir
FabricationsHQ
Photo credits (all images): Scott Anderson/ Zeezee Digital Imaging
https://www.zeezeedigitalimaging.co.uk/