Throughout its chequered history, the Epstein Theatre has always stood tall as a venue for local talent, be they playwrights or musicians, so it was a pleasure to be back in the renovated and reopened auditorium for an event billed as Epstein Live.
This was the first of what is hoped will be a recurring platform showcasing grassroots music in Liverpool. The inaugural bill was co-curated with the opening act, Jennifer Vaudrey. Jennifer is a name familiar to many on the local arts scene as a multifaceted creative known for her work as a festival producer, drama and music facilitator, events manager, and singer-songwriter—the version of her we would see tonight. She opened her set with ‘Storms’ and followed it up with a stripped-back version of her 2023 single ‘Blue Shadows’. Her next song, ‘River’, written in lockdown about Liverpool and her dad, had an emotional depth and resonance that connected with the audience. She played two songs from her debut EP ‘Goodbye Mister’ and perhaps her best-known track, ‘Hideaway from Love’. Her final offering was ‘Don’t Worry Baby’, a tribute to the recently passed Beach Boys legend, Brian Wilson.
The next performer was Rafaela Dias, described as “a queer, mixed-race artist with roots in Portugal and Angola…”. She played guitar and was supported by a bassist, keyboard player, and congas tub thumper. Her opening song was ‘Summer Rain’, a soulful, jazz-tinged tune. She upped the tempo with ‘Baby You’re a Rock Star’, written, she said, on a bike ride to Formby Beach. Despite saying she didn’t write love songs, she played two in a row: ‘Trouble’ and the beautiful ‘Deep Blue’, for which she sat on a stool and sang with only keyboard accompaniment. This was a lovely moment. Her band were each given their time in the spotlight during ‘Whatever’, but I couldn’t hear their names to credit them properly. Apologies. She closed her set with ‘Father Like You’, written about an uncle who passed away, and a “lesbian heartbreak song”, ‘Fading Fast’. Rafa’s set had been one that promised much for the future.
After the interval, Helen Maw took to the stage with her band and opened her set with ‘Growing Pains’, the title track of her 2024 album. She played her first single, ‘Your Little Secret’, next, followed by her most recent single, ‘The Moment’, a beautiful song of heartache and reflection. Like the previous artists, Helen had a lockdown song, ‘Wait’, then performed a cover of Chappell Roan’s ‘Pink Pony Club’, showcasing her ability to deliver power pop as well as she does everything else. Her final song was her 2021 single, ‘How I Feel. Helen’s band were outstanding, but again, I can’t credit them properly as I didn’t catch their names. Her bassist, drummer, and saxophonist all contributed to a vibrant and uplifting set.
The final act of the night was Naomi Campbell, fresh from a sold-out gig at the Libra Theatre Café in Camden. She was backed by a great band who, once again, I can’t credit, but they know who they are. Naomi opened with ‘Pancho and Lefty’ and ‘Nothin’ Better’, before ‘Across the Waves’, a song about her journey from Northern Ireland to Liverpool. Her natural joie de vivre and easy-going charm make for an engaging stage presence. Her 2024 single ‘Don’t You Mind’ was next, followed by ‘The Cottage’. This reviewer’s favourite song of 2025, ‘Remembering’, came next before she concluded with ‘Green Eyes’, during which the band really expressed themselves. Although short, Naomi’s set clearly demonstrated why she’s been described as a rising star in the UK roots and soul scene.
For the finale, all the artists returned to the stage for a euphoric rendition of Fleetwood Mac’s ‘Dreams’.
It had been a tremendous night of music and one for which the Epstein Theatre should be lauded, particularly for opening their new platform with an entirely female bill. It’s vital that events like this, at venues like this, are supported if the live music scene in Liverpool is to survive and prosper.
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Reviewer – Adrian Cork
On – 2.08.2025
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